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Rustem, Unver. "Architecture for a New Age: Imperial Ottoman Mosques in Eighteenth-Century Istanbul." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11074.
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The eighteenth century saw the Ottoman capital Istanbul undergo some of its most significant physical changes. Restored as the seat of government in 1703 after the court had spent fifty years in Edirne, the city became the site of lavish architectural patronage intended to reinscribe the sultans' presence. This campaign culminated in the years 1740-1800 with two distinct but related developments: the revival of the imperial mosque as a building type, and the creation of a new architectural style--the so-called Ottoman Baroque--informed by Western models. Though these shifts have typically been viewed within a well-established decline paradigm branding the material decadent and derivative, this study demonstrates that the eighteenth-century mosques were powerful symbols of sultanic authority designed to reassert and redefine the empire's standing on a changing world stage.History of Art and Architecture
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Mowat, Fiona Anne. "Ritualising the dead : decorated marble cinerary memorials in the context of early Imperial culture and art." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/28748.
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This thesis explores the imagery of funerary ritual that expresses the commemoration of both the living and the dead in the art of the marble cinerary memorials of the early Empire. This group of objects includes decorated marble artefacts associated with cremation burial between the Augustan period and the reign of Antoninus Pius: ash chests (or cineraria); ash altars and grave altars (with or without ash cavities); as well as round urns and vase-shaped urns. The iconography chosen for cinerary memorials by individuals in the early Empire reflects those individuals’ concerns to remember families and friends and in turn to be remembered. This research approaches the analysis of funerary iconography holistically as embedded in its contemporary culture, as opposed to the focus on the art of various sub-cultures of Roman society, seen in recent scholarship. Items with adequate ancient provenance are used to create a sample dataset that represents individuals that belong to a middle to high income-group of society, individuals that are united through their ability to pay and commission these memorials, rather than by class. The epigraphic material, studied alongside the tomb analysis, indicates that this socio-economic group included people of different legal statuses: slaves, freed-people, non-elites and known-elites. Thus we are able to examine how artistic motifs, and also imperial iconography and culture, were received by a cross-section of society. The use of semiotics allows symbols to be analysed in conjunction with other methods such as examining narration and abstraction. This theoretical framework results in the extraction of meaning from seemingly generic motifs and connects this interpretation with contemporaneous cultural norms. Using these methods and the sample dataset, the memorial typology is examined as indicative of a focal point for funerary cult, through the connection between the object as a replacement altar for ritual, and as a house or shrine for the commemoration of the dead. The iconography associated with the memorials therefore relates to both the ritual context (garlands and other ritualistic motifs) and to the object as a small building (the architectonic façade and doors; garden and vegetative iconography). It also relates to the commemoration of the dead (portraiture and honorific iconography) and in particular to the idea of the spirit or manes of the deceased as being immortalised through the memorial (underworld and mythological iconography). All elements, then, point to the focus of the object in funerary ritual which enables the living to honour the spirit of the deceased and acts as a memento of family and friends, bringing together both the living and the dead in art and inscription.
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Wang, Cheng-hua. "Material culture and emperorship the shaping of imperial roles at the court of Xuanzong (r. 1426-1435) /." online access from Digital Dissertation Consortium access full-text, 1998. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9929761.
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Teixeira, Ivana Lopes. "Romanidade em Plinio, o Antigo, e a Naturalis História como um \'projeto\' político-pedagógico." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-06062013-125312/.
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O objetivo da pesquisa, Romanidade em Plínio, o Antigo, e a Naturalis Historia como um projeto político-pedagógico, consiste em analisar a Naturalis Historia (49-77 d.C.) como um discurso produzido dentro de um contexto sócio-histórico, onde Plínio, o Antigo (23-79 d.C.), reelaborou, baseado na tradição latina e grega, um ideal de romanidade, e ler esta romanidade a partir da problemática das identidades no mundo antigo greco-romano. No século I, num Império cada vez mais multicultural e multiétnico, a Pax proporcionada pela ascensão do governo de Vespasiano (69-79 d.C.), da dinastia dos Flávios, ampliou um processo de romanização do qual Plínio participou como intelectual e funcionário do círculo do poder, apresentando a Naturalis Historia como um thesauros ou memória, romano-itálica e grega, da grandeza de Roma e do Império. Nossa hipótese propõe a leitura integral da Naturalis Historia - enfatizando a análise do prefácio e dos livros 2 e 33 até 37 da História Natural - como um projeto político-pedagógico ou ideológico de Plínio, onde a romanidade pode ser lida como uma noção de identidade em Plínio, que se apresenta como supraétnica ou como modelo ideal de conduta imperial: política, econômica, social, cultural e moral. Através do discurso de Plínio, suas fontes e retórica de escrita e leitura ou de perspectivas de alcance do seu texto, de um ideal de romanitas e humanitas latinas, do contexto histórico de elaboração da obra e das teorias modernas sobre as identidades sociais no mundo antigo, propomos refletir sobre a romanidade como uma ideia de identidade romana, que rehierarquizou e reordenou o mundo imperial, a partir da cidade de Roma, dos costumes, da arte grega e da corte de Vespasiano, o novo Augusto. A Naturalis Historia como Enkyklios Paideia foi portadora de um thesauros, que repropôs a importância dos valores tradicionais romanos, enquanto descreveu a contemporaneidade ou conjuntura histórica do tempo de Plínio, o Antigo, o Principado dos Júlio-claudios ao de Vespasiano, de crises, Pax e integração cada vez maior de povos diversos.The aim of this research, Romanness in Pliny the Elder and the Natural History as a political-pedagogical project, is to analyze the Natural History (44-77 AD) as a discourse produced in a specific socio-historical context, in which Pliny the Elder (23-79 AD), based on Latin and Greek tradition, introduced a new ideal of Romanness. The research also proposes to read this Romanness vis-à-vis the issue of identity in the ancient Greco-Roman world. In the 1st century, in an increasingly multicultural and multiethnic empire, the Pax provided by the government of Vespasian (69-79 AD), of the Flavian dynasty, expanded a process of romanization in which Pliny participated as intellectual and government official. Pliny presented his Natural History as a thesaurus or memoryItalian-Roman and Greekof the Roman Empires grandeur. Our hypothesis proposes the complete reading of the Natural History (with an emphasis on the analysis of the preface and books 2 and 33 through 37) as Plinys political-pedagogical or ideological project, in which the idea of Romanness can be read as a kind of supra-ethnic identity or as an ideal model of imperial conduct: political, economic, social, cultural, and moral. We propose to look at Romanness as a notion of Roman identity that reordered and recreated hierarchies for the imperial world, starting from the city of Rome, the customs, Greek art, and the court of Vespasian, the new Augustus. For this, we take into consideration Plinys discourse, his sources, reading and writing rhetoric, and the perspectives afforded by his text, by the ideal of Latin romanitas and humanitas, the historical context of his work, and modern theories about social identities in the ancient world. The Natural History as Enkyklios Paideia was the bearer of a thesaurus that reintroduced the importance of traditional Roman values as it described the historical conjuncture of Plinys time, the principality from the Julio-Claudian to the Vespasian dynasties, crises, Pax, and the increasing integration of several peoples.
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Jia, Yan. "Imperial Doors of Assyria: Monumentality, Spatiality, and Rituality of the Neo-Assyrian Architectural Doors From Balawat." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:14226073.
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The present dissertation, titled "Imperial Doors of Assyria," aims to examine the artistic form and cultural value of Neo-Assyrian architectural doors as highlighted by the three concepts of monumentality, spatiality, and rituality, using the three bronze-banded wooden doors from Balawat as a case study.
Having introduced the materials and questions to be raised in this dissertation in the introductory Chapter I, Chapter II on the "monumentality" of the Balawat doors explores the commemorative value of the Balawat doors respectively through material, image and text. The scale and material was the "vehicle of conveyance" for monumentality. The commemorative value of the Balawat doors as Assyrian imperial monuments lies also in their ability to tell stories through historical narrative relief imagery on decorative bronze bands, and cuneiform texts accompanying the reliefs.
Chapter III on "spatiality" engages with a spatial reading of the door-band programs, and argues for a "spatial schema" governing the historical narrative on both the closed and the open door. When closed, the program reflects a "center -- periphery" schema, implying a political order between the Assyrian king and his conquered lands; when open, it changes into an "inside -- outside" schema, indicating an ideological order between the god, the people, and the king in-between as an intermediary connecting the two. Either way, the "spatial schema" encapsulates the essence of a clearly Assyrian-oriented world order, with the king always at the center/inside as the maintainer of such order.
Chapter IV on "rituality" examines how the monumental doors interacted with people, and how the monumental space was then transformed into a "ritual place." Owing to the architectural function and commemorative value of the Balawat doors, their "rituality" lies in both their constructive roles of ritual events enacted at the doors, and reflective roles of ritual activities depicted on the doors. These two aspects would have cooperated and interacted with each other, and constitute a self-referential system which then reinforces the effectiveness of the ritually-meaningful images on the door.
The final Chapter V concludes by highlighting the case of the Balawat doors as an important disclosure of the rules that manifested the syntax of the artistic, architectural, and social expressions of imperial Assyria. As visual metaphors for the Assyrian proto-imperial system, the door-band decorative programs demonstrate the ambitious world view of an expanding territorial state, soon to become one of the strongest empires in the ancient world.
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Young, Tom. "Art in India's 'Age of Reform' : amateurs, print culture, and the transformation of the East India Company, c.1813-1858." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/285900.
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Two images of British India persist in the modern imagination: first, an eighteenth-century world of incipient multiculturalism, of sexual adventure amidst the hazy smoke of hookah pipes; and second, the grandiose imperialism of the Victorian Raj, its vast public buildings and stiff upper lip. No art historian has focused on the intervening decades, however, or considered how the earlier period transitioned into the later. In contrast, Art in India's 'Age of Reform' sets out to develop a distinct historical identity for the decades between the Charter Act of 1813 and the 1858 Government of India Act, arguing that the art produced during this period was implicated in the political process by which the conquests of a trading venture were legislated and 'reformed' to become the colonial possessions of the British Nation. Over two parts, each comprised of two chapters, two overlooked media are connected to 'reforms' that have traditionally been understood as atrophying artistic production in the subcontinent. Part I relates amateur practice to the reform of the Company's civil establishment, using an extensive archive associated with the celebrated amateur Sir Charles D'Oyly (1781-1845) and an art society that he established called the Behar School of Athens (est.1824). It argues that rather than citing the Company's increasing bureaucratisation as the cause of a decline in fine art patronage, it is crucial instead to recognise how amateur practice shaped this bureaucracy's collective identity and ethos. Part II connects the production and consumption of illustrated print culture to the demographic shifts that occurred as a result of the repeal of the Company's monopolistic privileges in 1813 and 1833, focusing specifically on several costume albums published by artists such as John Gantz (1772-1853) and Colesworthy Grant (1813-1880). In doing so, it reveals how print culture provided cultural capital to a transnational middle class developing across the early-Victorian Empire of free trade. Throughout each chapter, the gradual undermining of the East India Company's sovereignty by a centralising British State is framed as a prerequisite to the emergence of the nation-state as the fundamental category of modern social and political organisation. Art in India's 'Age of Reform' therefore seeks not only to uncover the work and biographies of several unstudied artists in nineteenth-century India, but reveals the significance of this overlooked art history to both the development of the modern British State, and the consequent demise of alternative forms of political corporation.
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Luk, Yu Ping. "Empresses, religious practice and the imperial image in Ming China : the Ordination Scroll of Empress Zhang (1493)." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:797fc7ce-34c7-4af3-a96d-928cec15098a.
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The Ordination Scroll of Empress Zhang (1493) in the San Diego Museum of Art, a highlight at the Taoism and the Arts of China exhibition in 2000, is an unusual object among surviving visual material from Ming dynasty China (1368 – 1644). At over twenty-seven metres long, the scroll contains meticulously painted images and a detailed inscription that records the Daoist ordination of Empress Zhang (1470 – 1541), consort of the Hongzhi emperor (r. 1488 – 1505) by the Orthodox Unity institution. The event it documents, which elevates the empress into the celestial realm, would be unknown to history if not for the survival of this scroll. This dissertation is an in-depth study of the Ordination Scroll that also considers its implications for understanding the activities of empresses and their representations during the Ming dynasty. The first three chapters of this dissertation closely examine the material, visual and textual aspects of the Ordination Scroll. The remaining two chapters situate the scroll within the broader activities of Ming empresses. A complete translation of the main inscription in the scroll is provided in the appendix.
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Wang, xiao chao. "Christianity and imperial culture : Chinese christian apologetics in the seventeenth Century and their latin patristic equivalent /." Boston : Brill, 1998. http://catalogue.bnf.fr/ark:/12148/cb40106192v.
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Texte remanié de: Thesis--Department of theology--University of Leeds, 1996.Contient divers textes en chinois de Xu Guangqi (principalement), Li Zhizao, Yang Tingyun, et leur traduction en anglais. Bibliogr. p. 250-259.
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King, Daniel A. "Painful stories : the experience of pain and its narration in the Greek literature of the Imperial period (100-250)." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:c5509a42-cd3f-4e11-b9a1-8a3b6fa84101.
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This research project investigates the relationship between pain and the practices of explaining and narrating it to others. Current scholarship argues that the representation of suffering became, during the Imperial period, an increasingly effective and popular strategy for cultivating authority and that this explains the success of Christian culture’s representation of itself as a community of sufferers. One criticism of this approach is that the experience of pain has often been assumed, rather than analysed. Here, I investigate the nature of pain by attending to its intimate relationship with language; pain was connected to the strategies used to communicate that experience to others. I will show that writers throughout the Imperial period were concerned with questions about how to communicate pain and how that act of communication shaped, managed, and alleviated the experience. I investigate this culture along three axes. Part 1, ‘The Sublime Representation of Pain’, investigates the way different authors thought about the capacity of sublime language and rhetorical techniques such as enargeia to effectively communicate pain. I argue that for writers such as Longinus, the sublime offers an opportunity to replicate the traumatic experience of the pain sufferer in the audience or listener—pain is narrated to the audience through a traumatic communicative mode. Contrarily, I show how authors such as Plutarch and Galen were particularly concerned to desublimate the representation of pain, reducing the affective power of images of pain by promoting the audience’s conscious engagement with the text or representational medium. Part 2, ‘Medical Narratives’, examines a conflict between Galen and Aristides over the way language and narrative signified or referred to painful experiences. I show how both writers negotiate the way pain destroys and transcends ordered, structured, narrative by engaging in a process of narrative translation. I will illuminate the difference between scientific, diagnostic narratives which explain and rationalise pain experiences (in the case of Galen) and those which attempt to give witness to the nebulous, ineffable qualities of pain. In Part 3, ‘Narrating Cures’ I investigate ancient practices of psychotherapy. I show how various philosophical consolations were underpinned by an understanding of the power of pain to continually return and overwhelm the individual. I show further that the Greek romances engage in a type of talking cure: the novels use narration and story-telling to help assert the protagonists’ distance from their past traumatic experiences and, thus, allow the individual to overcome their painful past.
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Calik, Ayse. "Roman Imperial sculpture from Cilicia." Thesis, King's College London (University of London), 1997. https://kclpure.kcl.ac.uk/portal/en/theses/roman-imperial-sculpture-from-cilicia(52fdf4d0-393f-42f3-8373-470393fac704).html.
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Charania, Moon M. "Spectacular Subjects: The Violent Erotics of Imperial Visual Culture." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/sociology_diss/54.
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The central concerns of this project are the visual constructions of feminine and feminist subjectivities, significations and semiotics of the (brown) female body, and the pleasures and power of global visual culture. I consider the primary visual fields that seek to tell the story of Pakistani women, and Muslim woman more broadly, after September 11th, 2001. Specifically, I offer detailed case studies of three visual stories: international human rights sensation Mukhtar Mai; twice elected Prime Minister of Pakistan and first woman to lead a Muslim country Benazir Bhutto; and female terrorists/religious martyrs of the Red Mosque events in Islamabad, Pakistan. I locate the relevance of these visual stories on three axes − human rights, democratization and the war on terror − where each operates as an arm of, what Jasbir Paur (2007) calls, the U.S. hetero-normative nation. I also examine the structures of affect, pleasure and eroticism that are embedded in these popularized representations and narrations in the U.S. cultural context. Finally, I offer ways to reread the potential radical subjectivities or possibilities that these visual subjects and their political labor open up.
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Krakovich, Lina M. "Art · Culture · Experience." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212147757.
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Thesis (Master of Architecture)--University of Cincinnati, 2008.Advisors: Vincent Sansalone, Elizabeth Riorden. Title from electronic theses title page (viewed Sept. 6, 2008.). Includes abstract. Keywords. Includes bibliographical references.
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KRAKOVICH, LINA M. "Art · Culture · Experience:." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212147757.
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McDermott, Hiroko T. "A history of the Imperial Art Collection in modern Japan." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399439.
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O'Leary, Daniel Ralph John. "Raciological thought in Victorian culture, a study in imperial dissemination." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ48686.pdf.
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Gabriel, Elun Tiercel. "Anarchism and the political culture of imperial Germany, 1870-1914 /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2003. http://uclibs.org/PID/11984.
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Hahn, Monica Anke. "Go-Between Portraits and the Imperial Imagination circa 1800." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/508898.
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Art HistoryPh.D.
This dissertation examines representations of Native peoples during the British Imperial Age of the late eighteenth and early nineteenth centuries. It concentrates specifically on diplomatic Go-Between figures, individuals who performed a mediating role between their own indigenous communities and the colonizers. The dissertation examines images and objects within a postcolonial framework, engaging notions of hybridity and mimicry in order to interrogate more traditional readings of colonial power and representation. The images of Native peoples that appeared in ethnographic studies, paintings, and prints, as well as in objects of material culture such as games, books, and toys, reveal a dislocating indigenous agency within their colonial contexts. By offering new considerations of artistic process and the role of late eighteenth- and early nineteenth-century British theatrical culture, the dissertation suggests that these Native figures were mediated by the tropes and conventions of contemporary theater through pose, gesture, and other dramaturgical allusions. In its exploration of the theatrical dimensions of imperial diplomacy and Go-Between representation, including evidence of performative mimicry by Go-Betweens themselves, my dissertation reveals an even more subtle interplay of identities in the context of colonial image-making than art historians have hitherto recognized. In addition to using theater history and performance theory to situate Go-Between images in relation to the contemporary English stage, the study also implicates the creative process and resulting artifacts themselves in the Go-Between status, affording the material object itself a hybridity that can become the site of ideological dislocation.
Temple University--Theses
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KIERNAN, PHILIP JAMES. "IMPERIAL REPRESENTATION UNDER DIOCLETIAN AND THE TETRARCHY." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1070396389.
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Price, Simon. "Rituals and power : the Roman imperial cult in Asia Minor /." Cambridge (GB) ; New York ; Melbourne : Cambridge university press, 1994. http://catalogue.bnf.fr/ark:/12148/cb374548874.
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Jones, Lewis Molly Ayn. "A Dangerous Art: Greek Physicians and Medical Risk in Imperial Rome." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1242865685.
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Smith, Janet Anne. "Attacking the centre : challenging the binarisms of colonial and imperial culture." Thesis, University of Liverpool, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577188.
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In this thesis I argue that colonial and imperial culture constructed a series of binary oppositions between coloniser/colonised, west/east, white/black, which are still operating today, and that the former term in these oppositions, associated with rationality and reason, has been privileged over the latter, correspondingly associated with irrationality and unreason. This is something that many postcolonial and anti-imperial writers set out to challenge, and this thesis critically examines the ways in which they do this, and the extent to which their attempts prove successful. However, throughout, I also argue that many of the writers studied either fail to move beyond the binary thinking which characterises colonial/imperial ideologies, 0 r that they unwittingly reinforce the dichotomies set up, by failing to consider the issues of class and gender which cross-cut and often reinforce colonial/imperial ideology. Chapter One examines postcolonial theory in detail, while Chapter Two provides a reading of two of Rushdie's novels, in relation to the issue of imagining the nation in the postcolonial era. Chapter Three deals with the ideology of purity, in relation to William Boyd's The Blue Afternoon, and with the stories of Charles Chesnutt, which also implicitly challenge the fixed divisions between black and white, thus undermining concepts of racial purity, whilst also providing an alternative episteme to that of the dominant white culture. The texts of both writers are set in modernist America, and both provide a critique of the dominant white discourse, or ' centre ' . This is also true of W. E. B. DuBois, whose work is discussed in Chapter Four, and who can be said to demand an equal status for the black subject, and for the black world-view or episteme, undervalued in racist America. In Chapter Five, I critically examine the writings of two women of colour in the US, arguing that while many of the writers studied fail to fully engage with the specific position of women in the colonial/imperial context, Alice Walker and Gloria Anzaldua redress the balance somewhat by focusing upon patriarchy, as well as racism and class issues. Indeed, I argue throughout that these issues cannot be considered separately, but need to be thought through together, in order to understand the complexities of colonial/imperial ideology, and thus to challenge it in effective ways.
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Wu, Zeyuan. "Playing Antiquity: Qin Musiking and Literati Culture in Late Imperial China." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429844729.
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Sanz-Ferran, Claudette, and Anne Vincenti. "L'espace pictural dans la culture occidentale et dans la culture islamique." Toulouse 2, 1991. http://www.theses.fr/1991TOU20075.
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L'analyse interculturelle de l'objet pictural montre que celui-ci n'est pas séparé des objectifs propres de la représentation ni de ce que peut en attendre un ensemble social. Foisonnant dans la culture occidentale, l'objet pictural est lie à un interdit dans la culture islamique. Or, l'interdit ne porte pas exclusivement sur la représentation qui frappe de nullité l'objet qu'elle représente. L'interdit vise aussi l'objet pictural comme élément significatif d'une manière d'être présent ou en présence de l'objet. La limitation quadrangulaire du tableau, surface à l'évidence plate où est exclue la troisième dimension, établit sa spécificité : tableau virtuel, il introduit la question des limites dans lesquelles l'espace s'offre entre réel imaginaireAnalysis of the pictorial object between different cultures shows that it is unseparable from its ownrepresentational aims and that which is to be expected within an overall social picture. Abundant in western culture, the pictorial object is attached to the forbidden in Islamic culture. However, the forbidden doesn't only concern the representation of the object which renders the object, itself, void. The forbidden also concerns the pictorial object as an important element, in as much as it is itself present, or, is in the presence of, the object. The quadrangular limitation of the tableau, the flat which excludes the third dimension, establishes its specificity: virtual picture, it introduces the question of the limits within the space between real imaginary
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Dimitropoulou, Vassiliki. "Komnenian imperial women as patrons of art and architecture : what and why." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404159.
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Borey, Erica. "Reichenbachia, Imperial Edition: Rediscovering Frederick Sander’s Late-Victorian Masterpiece of Botanical Art." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3292.
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This thesis project examines the history, provenance, and contemporary treatment of a rare Imperial Edition of Frederick Sander’s print collection Reichenbachia, Orchids Illustrated and Described, a high-quality orchid compendium dating to the late-nineteenth century. A local philanthropist loaned the Imperial Edition Reichenbachia, number 86 of 100 to Lewis Ginter Botanical Garden in 2011 on a long-term basis as a promised donation. Research into the origins of this collection involves several disparate historical topics, including the Victorian period of “orchid mania,” imperialist business practices, and chromolithographic printmaking. Discussion of the transition of this collection into a museum art collection covers its consequent registration, conservation, and exhibition. Finally, this thesis project considers the advantages and disadvantages of managing an art collection at a botanical garden.
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O'Rourke, Shane. "Warriors and peasants : the contradictions of Cossack culture 1861-1914." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295965.
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Blake, Stacey A. "Competition or admiration? : Byzantine visual culture in Western Imperial Courts, 497-1002." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5958/.
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The following dissertation reassess previous explanations for the transmission of Byzantine iconography to western material culture that have been classified by the classical canon as being manifestations of a ‘barbarian’ ruler attempting to legitimize their fledgling culture. The tumultuous relationship between the east and the west during the Late Antique period to the middle Byzantine period and the subsequent visual culture that demonstrates cross-cultural exchange comprises the majority of my analysis. I approach the topic in a case study fashion focusing on five rulers: Theodoric, Charlemagne, and the three Ottos. The source material chosen for this dissertation varies as it has been selected based on claims by previous scholarship of demonstrating some level of Byzantine influence. My re-examination of these works includes the application of an interdisciplinary theoretical framework first postulated by Robert Hayden: Competitive Sharing. This theory suggests that material culture displaying syncretism was not a reflection of admiration, but of competition. An implication of this study is that art was an active participant in the relationship between the east and the west, serving as a communicative device, rather than as the more frequently cited passive role of a conduit for iconographical transmission or cultural legitimization.
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Shawyer, Sarah Rose Violet. "The imperial patriarchal discourse : British Jewish culture, identity and the Palestine Mandate." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/415883/.
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This thesis explores the interplay between British Jewish culture and identity in relation to contemporary perceptions and collective memories of the Palestine Mandate. It begins with a historical examination of the British Jewish press, Mass Observers, and communal and personal correspondence regarding British Jews and the Palestine Mandate from 1944 to 1948. The thesis then devotes a chapter each to discussion of three modern British Jewish texts that provide insight into communal and personal responses to both the end of the Palestine Mandate and the subsequent establishment of the state of Israel: Linda Grant’s When I Lived in Modern Times; Peter Kosminsky’s The Promise; and Howard Jacobson’s The Finkler Question. Throughout all four chapters, issues of age, gender, and the use of specific terminology along with features of recent British Jewish history, such as Zionism, the Holocaust and the Second World War, will be fully explored. The unique socio-political orientation of Grant, Kosminsky and Jacobson as British Jews will be examined, with the differences and similarities noted accordingly. The subsequent findings of this analysis argue that each of the three texts discussed employ an overarching framework, the imperial patriarchal discourse, in which retrospective perceptions of the Palestine Mandate exist. Furthermore, the origins of this narrative can be evidenced in the historical study of press, communal and individual responses to the Palestine Mandate and British Jews between 1944 and 1948, suggesting the modification of an already existing pattern of understandings among British Jews. This framework is adaptable in nature and inclusive in scope. The use of the imperial patriarchal discourse thus demonstrates that British Jews formed their response to the Palestine Mandate, Zionism and Israel from within the specific socio-cultural milieu in which they operated – and continue to do so.
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Hicks, James. "David Roberts' Egypt & Nubia as imperial picturesque landscape." Thesis, University of Hertfordshire, 2010. http://hdl.handle.net/2299/4595.
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This thesis examines and contextualises historically significant aspects of the ways in which David Roberts’ lucrative lithographic publication Egypt and Nubia (1846-49) represented the “Orient”. The analysis demonstrates that Roberts used tropes, particularly ruins and dispossessed figures, largely derived from a revised version of British picturesque landscape art, in order to depict Egypt as a developmentally poor state. By establishing how this imagery was interpreted in the context of the early Victorian British Empire, the thesis offers an elucidation of the connection between British imperial attitudes and the picturesque in Roberts’ work. The contemporary perception of Egypt and Nubia as a definitive representation of the state is argued to relate, not only to the utility of the picturesque as an “accurate” descriptive mode, despite its highly mediated nature, but also to the ways in which Britain responded to shifting political relationships with Egypt and the Ottoman Empire between 1830 and 1869. This political element of the research also suggests a more problematised reading of Robert’s work in relation to constructs of British imperialism and Edward Said’s theory of ‘Orientalism’, than has been provided by previous art historical accounts. A significant and innovative feature of the research is its focus on extensive analysis of textual descriptions of Egypt in early Victorian Britain and contemporary imperial historiography in relation to characteristics displayed in Roberts’ art. This offers a basis for a more specific, contextual understanding of Roberts’ work, as well as historically repositioning nineteenth-century British picturesque art practice and the visual culture of the early Victorian British Empire.
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Mirón, Pérez Dolores. "Mujeres, religion y poder : el culto imperial en el occidente mediterráneo /." Granada : Universidad de Granada, 1996. http://catalogue.bnf.fr/ark:/12148/cb361790480.
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Bubenik, Andrea S. "Art, astrology and astronomy at the Imperial court of Rudolf II (1576-1612)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ55891.pdf.
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Mösch, Sophia Cornelia. "Augustine of Hippo and the art of ruling in the Carolingian imperial period." Thesis, King's College London (University of London), 2015. https://kclpure.kcl.ac.uk/portal/en/theses/augustine-of-hippo-and-the-art-of-ruling-in-the-carolingian-imperial-period(e0cb2f90-b0ac-43b6-a3fe-bf4bb298c74a).html.
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This thesis investigates how the political thought of Augustine of Hippo was understood and modified by Carolingian-era writers to serve their own distinctive purposes. The research concentrates on Alcuin of York and Hincmar of Reims, advisers to Charlemagne and Charles the Bald, respectively. The analysis focuses on Alcuin's and Hincmar's discussions of empire, rulership and the moral conduct of political agents, in the course of which both made extensive use of Augustine's De civitate Dei, though each came away with a substantially different understanding of its message. By applying a philological-historical approach, this thesis offers a deeper reading that views their texts as political discourses defined by content and language; it also explains why Augustine, despite being understood in such different ways, remained an author that Carolingian writers found useful to think with. Methodological problems are outlined in the Introduction. Chapter One contains an analysis of selected concepts of Augustinian thought, chosen both for their prominence in the De civitate Dei and relevance to the Carolingian material. Chapter Two explores the range of Augustinian influences in Alcuin's Epistolae, with emphasis on political thought. Chapter Three studies the impact of Augustine on Hincmar's Epistolae, Expositiones ad Carolum Regem and De regis persona, with a focus on political ethics. The Conclusion contextualises the findings on Augustinian influence from the previous chapters and attempts to show more clearly why Alcuin's and Hincmar's versions of Augustinian thought are so different. In particular, it considers the differences between Augustine's, Alcuin's and Hincmar's understandings of 'church' and 'state' and the distinctive ways in which each of them interpreted the relationship between religion and political power. A comparison of Alcuin's and Hincmar's uses of Augustine sheds light on the differences between Charlemagne's reign and that of his grandson.
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Muirheid, Amanda J. "Visual Culture within Comprehensive Art Education and Elementary Art Curriculum." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/80.
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This thesis addresses why a comprehensive art education curriculum needs to merge with visual culture in order to better serve current elementary students today. The review of literature supports this theory and proves that the two approaches work together to make learning relevant and effective. The units of study provided make up a guideline that show teachers how to include visual culture into the current comprehensive art education structure. This allows students to bring their own ideas and experiences into the classroom, and results in making the visual arts more personal. Following this curriculum will help students own their education and ultimately gain higher level thinking and learning in the visual arts as well as other subject areas.
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Ugurlu, Susan Cooke. "Art and culture in Phrygian Ankara." Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426085.
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Fischer, Julia Claire. "Private Propaganda: The Iconography of Large Imperial Cameos of the Early Roman Empire." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1414586866.
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Grodzinski, Veronika. "French Impressionism and German Jews : the making of modernist art collectors and art collections in Imperial Germany 1896-1914." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1444726/.
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This interdisciplinary thesis is the first dedicated study of German Jewish patronage of French Impressionist and post-Impressionist art in Wilhelmine Germany. It investigates the disproportionately strong impact of German Jewish patronage from three perspectives. It examines the significance of Paul Cassirer's modernist art dealership, the prominence of German Jewish art collectors and their modernist art collections and the presence of German Jewish sponsorship at the Nationalgalerie Berlin, the Pinakothek Munich and the Stadelsche Kunstinstitut in Frankfurt am Main. First it examines Impressionism as the 'painting of modern life' in its original French context, focussing on French Jewish dealer-patrons and collectors whose association with French modernist artists influenced not only its iconography, but also involved French Jews in modern art promotion and marketing. The French model serves as a basis for understanding the reception of such art amongst a liberal circle of Germans and German Jews. The study examines the Wilhelmine reaction to French modernism and shows how antagonism toward Jews and France was often linked and interpreted by conservatives as 'alien elements' in nationalist Germany, thus highlighting Impressionism as a threat of a new Weltanschauung. This thesis suggests that although some German Jews acculturated to the dominant Wilhelmine culture, the championing of modernist art actually emphasized their Jewishness and their role as the 'Other' in German society, despite their patriotism. Yet, in the long run, German Jewish taste for the avant-garde had as much influence on German modernism as German taste had on Jews. The study hypothesizes that German Jews embraced French Impressionism as an 'iconography of inclusion' that coincided with their own experience of modern life and thus their patronage served as a component in the construction of their secular identities. The study concludes that strong German Jewish patronage changed the modern art market irrevocably and by doing so it was not only a turning point for the writing of modern art histories, but also for the reassessment of German Jewish cultural identities, thereby proving that the history of modernist European art patronage encompassed also a history of ideas.
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Balkir, Nur Chanda Jacqueline. "Visual culture in the context of Turkey perceptions of visual culture in Turkish pre-service art teacher preparation /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-9935.
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Sharpe, Heather Fiona. "From Hieron and Oikos the religious and secular use of Hellenistic and Greek Imperial bronze statuettes /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3210047.
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Thesis (Ph.D.)--Indiana University, Dept. of Art History, 2006.Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0754. Adviser: Wolf Rudolph. "Title from dissertation home page (viewed March 16, 2007)."
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Hidalgo, Ilivette L. "The Imperial Hotel : a case study in the art of preservation and re-adaptation." Thesis, Georgia Institute of Technology, 1994. http://hdl.handle.net/1853/23918.
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Barkawi, Tarak Karim. "Battle and culture : British imperial forces in Southeast Asia in the Second World War /." Diss., ON-CAMPUS Access For University of Minnesota, Twin Cities Click on "Connect to Digital Dissertations", 2001. http://www.lib.umn.edu/articles/proquest.phtml.
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Tam, Man-yee County, and 譚敏義. "The interiorization of life nuturing skills and the medical culture in late imperial China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43085817.
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Bian, He. "Assembling the Cure: Materia Medica and the Culture of Healing in Late Imperial China." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11449.
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This dissertation examines the intersection between the culture of knowledge and socio-economic conditions of late Ming and Qing China (1550-1800) through the lens of materia medica. I argue that medicine in China during this time developed new characteristics that emphasized the centrality of drugs as objects of pharmacological knowledge, commodities valued by authenticity and efficacy, and embodiment of medical skills and expertise. My inquiry contributes to a deeper understanding of the materiality of healing as a basic condition in early modern societies: on the one hand, textual knowledge about drugs and the substances themselves became increasingly available via the commoditization of texts and goods; on the other hand, anxiety arose out of the unruly nature of potent substances, whose promise to cure remained difficult to grasp in social practice of medicine.History of Science
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Woodrow, Zoe Antonia. "Imperial ideology in Middle Byzantine court culture : the evidence of Constantine Porphyrogenitus's De Ceremoniis." Thesis, Durham University, 2001. http://etheses.dur.ac.uk/3969/.
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The subject of the thesis is the Byzantine Book of Ceremonies, produced during the reign of the Emperor Constantine VII Porphyrogenitus (945-963). Through an examination of the prescriptions for imperial ceremonies contained in the first 83 chapters of Book 1 of the document, it seeks to explore the way in which the Byzantine political authorities of the tenth century endeavoured to preserve state ceremonial. It argues that these rituals, divorced from the context of historical events and the constraints of performance, offer a unique insight into the preoccupations of the Middle Byzantine administration. Dividing the ceremonies into three distinguishable groups - religious ceremonies, 'imperial rites of passage' and court promotions, and the entertainments of the Hippodrome - it focuses on the articulation of imperial ideology through the public presentation of the Emperor, the ritual consolidation of the contemporary court structure and the relationship of the imperial authorities to external agents, of which that with the Patriarch is of particular interest. It attempts to show the way in which the ritual life of the Emperor and the palace, as it is presented in the treatise, reveals the concerns of the tenth-century Byzantine administration, particularly its desire to strengthen the authority of the Emperor and to regulate the conduct of the court. In so doing, it demonstrates that the prescriptive chapters of Book 1 of the De Ceremoniis present a consistent image of imperial ideology, one that serves to underpin the political system by exhalting the Emperor and drawing to him a number of symbols of imperial legitimacy and by establishing him, unmistakably at the head of the political establishment.
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Longson, Patrick Adam. "The rise of the German menace : imperial anxiety and British popular culture, 1896-1903." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5094/.
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This dissertation argues that the idea of a German Menace was not simply a product of concerns about the defence of the British Isles, but rather it was born out of the mentality of British imperialism. Over the period 1896-1903, imperial antagonism between Germany and Britain, in various contexts around the globe, inspired the popular perception of the German Menace as a distinctly imperial threat. Where the established historiography locates the beginning of the Anglo-German rivalry within the development of the naval armaments race after 1904, this study traces the British fear of Germany much earlier and, crucially, much further away from the shores of the North Sea. The Dreadnought Race was a product of pre-existing anxieties; this thesis will explain the context of imperial anxiety out of which the coherent concept of the German Menace developed. It reveals how specific imperial crises informed British popular beliefs and how the stereotypes of German covetousness, autocracy and efficiency coalesced to form a powerful force in British society and politics that had reached its peak by 1903. By 1903 Germany was widely regarded as a menace to the British Empire.
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Frame, Murray. "The St. Petersburg Imperial Theatres, 1900-1920 : culture and power during the Russian Revolution." Thesis, University of Cambridge, 1997. https://www.repository.cam.ac.uk/handle/1810/272509.
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Choi, Yee-tuen Maria, and 蔡懿端. "Song Huizong (R.1100-1125) and the Imperial Painting Academy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31951946.
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Bradshaw, R. Darden. "Visual Culture Art Integration: Fostering Student Voice." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301706.
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Art integration research has received much attention of late, yet the focus generally examines ways integration practice and pedagogy support or enhance outcomes of high stakes testing. Serving as a counterpoint, this qualitative action research study, grounded in my experiences as a middle school arts integration specialist, addresses the value of visual culture art integration as a site of youth empowerment. Working collaboratively over a period of four months with three non-art educators to create and teach a series of social justice art integration units with sixth graders, I examined ways an integrated art and visual culture curriculum fostered safe spaces for students to take risks by deconstructing and reconstructing their identities, beliefs and understandings of others and their world through artmaking. In chapter one, I recount early teaching experiences that prompted the research questions in which an examination of which arts integration pedagogies best stimulate students to examine visual culture, articulate voice, and question power relationships that perpetuate social inequities. I address the theoretical lens of social justice art education as it frames the study and examine and discuss the current literature surrounding visual culture and art integration in chapter two. Chapter three delineates methodologies employed in the action research study including data collection measures of visual journaling, artmaking and photography. In chapters four, five, and six, I recount the process in which students engaged with, responded to, and created artwork through three curricular units--in social studies examining the intersections of culture and visual culture as evidenced through advertising, in language arts class collaboratively exploring persuasion through environmental and ecological art installations, and in math class integrating Fibonacci's theories through art making. Findings, discussed in chapter seven, indicated that visual culture art integration, used by teachers is often mislabeled out of insecurity and is a viable methodology for increasing student engagement. When students work collaboratively a space is created for them to regain power in the classroom and increase empathy awareness for themselves and others. Furthermore, art making, within a non-art classroom, can be a particularly successful arena through which middle school students articulate and clarify their voices.
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Branca, Andrea. "Identity and Popular Culture In Art Therapy." Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/100.
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This paper explores the psychological concept of identity and how popular culture may be used as a theme in art therapy for exploring and repairing life story. The literature review defines identity from varying perspectives with emphasis on awareness of parallels between popular culture and the client’s personal story. These parallels may offer art therapists a framework of images and memories useful specifically to exploring identity development with clients. The case study places client’s identity into the context of popular culture unique to the experiences of the client at varying life stages.
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Raley, Gabrielle. "Between art and advertising the production, organization, and culture of commercial art /." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023816031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Hoeffler, Michelle Leah. "The moment of William Ralph Emerson's Art Club in Boston's art culture." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/67166.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (p. 183-225).
This thesis will analyze the architect William Ralph Emerson's (1833-1917) Boston Art Club building (1881-82) and its station within Boston and New York's art culture. Even though there has been considerable research on the Gilded Age in general and certain art clubs specifically, this club remains a neglected element in art's social history. During the rising development of art culture, a small group of artists founded the Boston Art Club (1854-1950) as a vehicle for production, education and promotion of the arts. To assert their club's presence within patrons' circles, the members commissioned a flagship clubhouse adjacent to Art Square (now known as Copley Square). Emerson, primarily a residential architect and the first Shingle Style architect, won the competition with a unique amalgamation of Queen Anne and Richardson Romanesque styles, an alliance with the nearby Museum of Fine Arts and the Ruskin and the English Pre-Raphaelites. The resultant clubhouse was a declaration of the club's presence amid America's established art culture. Through this building design the Club asserted its status for the thirty years that the arts prevailed on Boston's Art Square. The Art Club's reign, along with the building's prominence, ended when the Museum deemed their building's architectural style out of date, among other reasons. That faithful decision to abandon Art Square and the revival Ruskinian Gothic style would take with it the reverence for the Art Club's building and, eventually, the club itself. Within forty years and through several other struggles the Art Club closed its doors, ending a chapter that began with the need for art in Boston, thrived within the culture of the Gilded Age and sank from the changing trends in architecture.
by Michelle Leah Hoeffler.
S.M.