Dissertations / Theses on the topic 'India Artists'

L'article 19 de la Constitution indienne garantit à tout citoyen le droit à la liberté d'expression. Cet article fut adopté en 1950 afin de poser les bases d'une démocratie laïque. Néanmoins, son interprétation connut d'importants changements à partir des années 1980 et des années 1990 lorsque les artistes et les œuvres d'art eurent à subir des violences continuelles. Cette thèse examine comment la liberté d'expression des artistes fut diversement interprété et comment elle fut régulé depuis les années 1950. Nous analysons ces évolutions en travaillant sur les rôles qu'on joués les instances de régulations étatiques (comme le Parlement, les tribunaux, l'Académie nationale des Arts). Nous montrons comment l'expression artistique fut l'objet de violences visant à la réguler. Ces violences traduisent un contexte politique changeant marqué par la criminalisation du Congrès et l'essor des tensions communautaires concomitant avec l'essor du Bhartiya Janata Party. Enfin, la présente recherche insiste sur les attaques dont les artistes furent la cible de la part des organisations nationalistes hindoues alors que le contexte politique est marqué par l'apparition de nouveaux médias et une anxiété croissante de voir l'Islam affirmer sa suprématie dont la population à majorité hindoue serait la victime. Ce mode opératoire fut repris par diverses organisations socio-politiques qui, bien que dépourvues de motivations idéologiques, attaquèrent les artistes en considérant que leurs sentiments personnels avaient été heurtés. Par le passé, l'Etat n'envisageait pas de rester neutre dans cette situation. Désormais, non seulement il le demeure, mais il appuie ceux qui répriment la liberté artistique. En décrivant les motivations de ceux qui commettent ces violences ainsi que le climat de peur et d'auto-censure qui règne parmi les artistes, nous démontrons que la régulation violente et désordonnée à laquelle est soumise la liberté artistique contribue à créer un climat de terreur perpétuel. Les libertés artistiques ont été modifiées, non dans le cadre constitutionnel mais en dehors de ce dernier<br>Enshrined in the Article 19 of the Constitution of India, freedom of speech and expression is a fundamental right of every citizen. Adopted in 1950 with the aim of establishing a secular democracy, the trajectory of the Article 19 demonstrates a substantive mutation in the discourse of free speech due to the sustained violence on artists and works of art since the 1980s and early 1990s. The thesis examines the transformation of the meaning and the mechanisms of regulating freedom of expression of artists in India since the 1950s. It explores the complexities informed by the historically specific forms that both the regulatory (laws, judicial directives etc. ) and allocatory (the National Akademies of Art) aspects of state intervention have assumed in India. It also provides a window into the trajectory of violent regulation of artistic expression by examining the political changes through the criminalization of Congress and communal violence under the Bhartiya Janata Party. The work traces the militant Hindu nationalists’ attacks on artists- informed by new media technologies, anxiety of Islam’s supremacy over the ‘victimized’ Hindu majority, representation of women and sexuality, anti-West sentiments etc. Devoid of any ideological motives, gradually various socio-political organizations began emulating this modus operandi of attacking artists by claiming of ‘hurt sentiments. ’ While the institutions of state earlier considered it unaffordable to be neutral in such a conflict, now not only remained neutral but sided with those indulging in coercive suppression of artistic liberties. Tracing individual motivations behind the acts of violence and artists’ widespread admission of fear and self-censorship, the work argues that violent regulation of artistic expression from an unexpected, infrequent interruption of the creative process of everyday life transformed into a ‘continuous reign of terror. ’ The transformation of artistic liberties occurs not within the framework of the Constitution as much as over the very nature of the Constitution

This study presents Aboriginal artists' perspectives on the study of Native art in the school curriculum. The case study is a naturalistic inquiry that employs ethnographic techniques to interview nine Saskatchewan artists, five females and four males. Overall, the artists agree on having Native art content in school programs, especially for Native students. All the artists believe that Aboriginal peoples should be involved in the definition and presentation of their art in the school curriculum. The artists show that content, and materials, may or may not be traditional. The artists prefer an observing and modelling approach to teaching bead and leather work, and to teaching drawing and painting. The male artists, primarily, support a research approach for studying the vast, diverse, and complex art of indigenous peoples. As well as learning about the art, the artists stress learning from the art including history, ecology, and about art from a non-Western perspective. The words, stories, and views of all the artists emphasize that art is a dynamic part of Aboriginal peoples' lives and cultures; one which they are willing to explain and share. Native art is a rich resource for school curriculum. It is a resource that must be and can be shaped by Aboriginal peoples.<br>Education, Faculty of<br>Curriculum and Pedagogy (EDCP), Department of<br>Graduate

Thesis advisor: Peter Weiler<br>This dissertation examines the careers and cultural productions of West Indian artists and entertainers working in London between 1945 and 1965, a period of large-scale West Indian migration to Britain. It argues that these artists espoused a collective cultural politics that was both ethnically aware and actively integrationist. Their work emphasized the historic cultural ties between the "mother country" and the Caribbean colonies, but did so in an effort to challenge prevailing media depictions of New Commonwealth migration as an unwanted foreign deluge. As a result, these migrant artists were among the first to express the potential of Commonwealth multiculturalism in Britain. Unlike many post-war histories of British race relations that emphasize the marginalization of black artists from mainstream culture, this study will show how the first wave of post-war West Indian artists, like Edric and Pearl Connor, Cy Grant, Ronald Moody, and Lloyd and Barry Reckord, sought to reach out to a wider British audience. Although their careers and artistic expressions were shaped - and at times stifled - by British cultural institutions that exercised their own assumptions and priorities, they posed alternatives to racism in a nation painfully coming to terms with its imperial legacy and multicultural future<br>Thesis (PhD) — Boston College, 2010<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: History

Thesis: M.B.A., Massachusetts Institute of Technology, Sloan School of Management, June 2014.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (page 29).<br>The handicraft industry is the second largest employer in rural India after agriculture, and has been the fastest-growing export growth sector since India's liberalization in 1991. Today, however, millions of artisans face a lack of infrastructure, stagnation and mis-alignment with a rapidly changing market, intense competition, decline of the natural materials on which they depend, and the lack of the information and skills needed to benefit from new market opportunities. Artisans are confronted by new challenges that include those associated with technology, communication and intellectual property. My research will focus on identifying steps in the handicraft value chain where ICT intervention can create better communication and bi-directional feedback channels between artisans and buyers. The study includes an analysis of the most common handicraft value chains today and the major needs and challenges identified by groups of artisans and retailers surveyed across four different locations in India. The study also includes interviews and perspectives of the stakeholders of the handicraft value chain.<br>by Sriram Emani.<br>M.B.A.

This dissertation highlights the influence of the extension of Empire in India on Enlightenment in Scotland. It argues, consistently, that an ever increasing contact with the Eastern parts of Empire over the eighteenth century created productive tensions between the personal, material and intellectual worlds of the Edinburgh literati. Scottish thinkers stood in close contact to one another and congregated in the Select Society and the Poker Club. Beyond the domestic boundaries, they had practical and personal interests in contemporary events in the East Indies. All had relatives or acquaintances in India and were all correspondents of Sir John Macpherson, Governor-General of India (1785-6). The dissertation shows that a revision of civic humanism on the one hand and scientific Whiggism on the other, found their main dilemma in “luxury” and “despotism” respectively. Both of these concepts were intrinsically connected with the perception of India at the beginning of the eighteenth century. One of the outcomes of the literati’s personal and intellectual engagement with India was the different solutions for the regulation of Empire. Ferguson, following the tradition of civic humanism, argued for the importance of civic virtue in order to maintain Empire. His thoughts stood in stark contrast to Smith, Hume and particularly Robertson. Vigour, instead of civic virtue, needed to be developed and strengthened. No monolithic canon of how Empire could be sustained was developed by these men, but all were involved in squaring the circle of improvement through Empire. The constant interplay between domestic, cosmopolitan and imperial spheres suggests that Enlightenment had an imperial nature, which is highlighted in relation to the literati’s particular investigation of “luxury” and “despotism” and their positive perception of Nabobs. Moreover, the dissertation emphasises that Edinburgh associations can not only be viewed as pillars of Enlightenment in Scotland, but also as networks and the gateways to Empire from at least the 1760s. The evidence assembled suggests that men like Ferguson and Robertson were active players in a world which was intellectually and practically shaped by Empire.

The aim of this project is to further enable emancipation of Indian craftswomen through the use of an alternative co-design process. As a designer working with textiles and fashion I was interested to explore how I could positively impact the production process of textiles. I spent five weeks in India, with the intent to understand the stakeholders and the project, but mainly focused on the Indian craftswomen’s involvement. The design research has been an iterative process based on qualitative research consisting of interactive partner visits, observations, conversations and workshops. Starting in 2012, IKEA have formed partnerships with social entrepreneurs around the world with the aim to create social change rather than economic wealth, mainly focusing on giving employment to women. In this partnership, IKEA haven’t yet found the ultimate level of artisan’s involvement in the design process that is convenient for both parties. I propose a design process, comprised of tools, that aims to support rural artisans and urban designers when co-creating textile products aimed at a western market.

This thesis consists of an argument analysis of three columns published in the Indian newspaper The Indian Express in the aftermath of the gangrape and murder of a young woman in Delhi in December 2012, and the following debate about glorification of rape in Indian popular culture. One of the columnists is arguing in favour of including gender as a category in the Indian law on hate speech, thereby banning an artist called Honey Singh and his lyrics about rape. The two other columnists are arguing against new restrictions on free speech in India. The analysis of the columns shows that there are several relevant arguments for and against including gender in the Indian hate speech legislation. The argumentation against a new law is similar to argumentation found in Western liberal theory, and the argumentation in favour of a new law is similar to argumentation found in Western radical feminist and critical race theory. However, both strands of philosophy are contested by postcolonial theorists, arguing that no Western theory is applicable in a non-Western context, such as India. Indian postcolonial feminists argue in favour of a third approach to sexist speech in India; a counter-speech approach. Counter-speech theorists agree with liberals about the importance of freedom of speech, and with feminists about the harm in hate speech. According to counter-speech theory, hate speech shall thus not be outlawed, but the state shall try to counter the harmful effects of hate speech, for example by strengthening groups targeted by hate speech so that they can speak back to hatemongers. The conclusion of this thesis is that a counter-speech approach is the most sustainable regarding freedom of speech and gender in India. Such an approach does not only appeal to Indian postcolonial theorists, it is also a middle way in-between a liberal and a radical feminist approach. In the conclusion, the relevance of hate speech legislation as a whole is also questioned. Laws such as in India, that protect only racial and religious groups from being targeted by hate speech while categories such as gender, sexual orientation and disability are not included, can be deemed discriminatory. An abolishment of hate speech prohibitions and an adoption of a counter-speech approach to all forms of hate speech is discussed.

This thesis is about how space technology is experienced in the social domain and how its purpose is recast from different viewpoints. The author is an artist and the approach taken foregrounds qualities of experience and viewpoint in which artists have a particular investment. This approach opens up the ways that affect, agency and authorship cross social domains that are directly and indirectly associated with the production of space technologies. A key focus is a group project led by the author that was initiated in response to the launch in October 2008 of the Chandrayaan-1 spacecraft by the Indian Space Research Organisation (ISRO). The project took place in Bengaluru, India where the spacecraft was built. Taking the ambivalence that surrounds the uses and purposes of space technologies as a starting point, a description of the spacecraft is developed from a number of viewpoints, including the mission scientists, public media and the participants of the artist-led project. The interventionist strategies of the project shed light on the ways that technologies can be accessed through their imaginaries and this has significance for large-scale technologies, such as spacecraft, for which physical access is delimited and much of the infrastructure is invisible or hidden from public view. The thesis proposes ways of reinstating missed qualities of viewpoint and experience within the affective spaces of space technology through the imperative to articulate first-person engagements with the world that is bound into artistic interpretation. What is further proposed is that by picturing the interrelations and flows of space technology in social domains through the lenses of experience and viewpoint, a 'technographic picture' is created that then becomes available as a tool with which to re-imagine spacefaring. This is a crucial addition to discussions about the interplay between science, technology and society that recognises the intimate spaces at the core of such large-scale concepts. It offers a new transdisciplinary modality that incorporates an artistic approach with which to make sense of the structurally ambivalent pursuits of spacefaring.

Thesis (Ph. D.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed July 23, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 214-232).

Som aspirerande artist är det ett nålsöga att infria sina drömmar med musiken, många försöker men desto färre lyckas. Syftet med denna kvalitativa studie är att undersöka hur aspirerande artister beskriver sina drömmar med musiken. Studien ämnar dessutom besvara huruvida genretillhörighet upplevs korrelera med hur drömmarna beskrivs. För undersökningen har åtta aspirerande artister intervjuats där hälften är pop-artister medan andra halvan består av alternativa artister (punk och indie). Forskningsresultatet visar att pop-artisterna i regel beskriver större drömmar än de alternativa artisterna. Samtliga respondenter delade dock drömmen om att kunna livnära sig på musiken. Däremot tenderade pop-artisterna att drömma om större summor pengar än de alternativa artisterna som istället nöjde sig med att kunna försörja sig på sitt artisteri. Mellan genrerna delades även viljan att ta musikkarriären så långt som möjligt. Resultatet visar dock att det mellan respondenterna råder delade meningar huruvida genretillhörighet korrelerar med hur de beskriver sina drömmar. Hälfterna av popoch de alternativa artisterna upplevde att genretillhörighet haft en påverkan medan övriga respondenter var osäkra eller inte reflekterat över genretillhörighetens påverkan.

Submitted by WAGNER PENEDO PRIANTE null (wagnerpriante@gmail.com) on 2016-06-30T17:23:42Z No. of bitstreams: 1 Wagner Penedo Priante - Dissertação Mestrado - Unesp-IA.pdf: 24482645 bytes, checksum: a04d26709c7d47ae1c3253b2bb09dd3c (MD5)<br>Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-04T17:46:24Z (GMT) No. of bitstreams: 1 priante_wp_me_ia.pdf: 24482645 bytes, checksum: a04d26709c7d47ae1c3253b2bb09dd3c (MD5)<br>Made available in DSpace on 2016-07-04T17:46:24Z (GMT). No. of bitstreams: 1 priante_wp_me_ia.pdf: 24482645 bytes, checksum: a04d26709c7d47ae1c3253b2bb09dd3c (MD5) Previous issue date: 2016-05-06<br>A pesquisa que resultou nesta dissertação teve como objeto de estudo a cerâmica dos Tapajó, em abordagem que privilegiou reconhecer o conjunto dessa produção e verificar, na análise estrutural de seus objetos, alguns elementos formais recorrentes. Também se buscou investigar como procedimentos inerentes ao fazer cerâmico possam ter sido empregados no processo, observando-se singularidades de algumas peças. Durante todo o percurso, procedeu-se ainda ao registro de impressões e inspirações que foram propulsoras de processo criativo do autor. Num diálogo entre pensamento e ação, teoria e prática, palavras e objetos, a pesquisa finalizou-se com a elaboração de um conjunto de objetos e esculturas em cerâmica, os quais expõem, em sua visualidade, percepções desse artista ceramista contemporâneo sobre o que foi investigado.<br>In this research, I investigated the ceramics of the Tapajos people, in approach that had opted to recognise the setting this production and verify, in structural analysis of its objects, some formal elements. It also sought to investigate how procedures inherent in ceramic making may have been employed in the process, observing singularities of some objects. Throughout the course, impressions and inspirations were also collected and stimulated the creative process of the author. In a dialogue between thought and action, theory and practice, words and objects, the research concluded with the elaboration of a set of objects and ceramic sculptures, which expose, in its visuality, perceptions of this contemporary artist ceramist about what was investigated.

Le présent travail porte sur les peintures de fleurs produites en Iran et en Inde entre le XVIe et le XVIIIe siècles et destinées à être montées dans des albums alliant peintures et calligraphies. Cette étude s'organise autour de trois axes de recherche. En premier lieu, l'étude de l'évolution des pratiques picturales au sein des ateliers de peinture, ainsi que la mise en évidence des différences formelles entre les centres de production. La taxonomie des peintures de fleurs a permis de mettre en évidence certains régionalismes, mais également des modes de représentation partagés entre l'Iran safavide (1501-1722), afshar (1736-1749) et zānd (1750-1794) d'un côté, et l'Inde moghole (1526-1857) et les cours provinciales de l'autre. Le second axe de recherche est consacré aux échanges entre l'Orient et l'Occident. Plusieurs peintures de fleurs persanes et indiennes sont issues d'herbiers et florilèges, imprimés en Europe à partir du XVe siècle. L'étude de l'apport européen dans ces productions de peintures permet de mettre en évidence les pratiques d'assimilation des formes exogènes par les artistes. Enfin, le troisième axe interroge le rôle tenu par les peintures de fleurs au sein des albums, ou muraqqaʻ. La compilation d'albums est attestée en Iran dès le XVe siècle, et passe vraisemblablement en Inde durant la première moitié du XVIe siècle. Les fleurs s'y déploient progressivement jusqu'à devenir omniprésentes, autant au centre des pages que dans les marges et sur les reliures. Les représentations florales revêtent des symboliques diverses qui sont à mettre en relation avec un abondant corpus poétique, mais également avec les patrons persans, indiens ou européens qui commandent ces précieux volumes. Parmi les conclusions, notons les attributions de dessins anonymes au peintre persan Shafīʻ ʻAbbāsī et une discussion sur les notions de copie et d'interprétation<br>This dissertation focuses on flower paintings produced in Persia and India between the 16th and the 18th centuries to be mounted in albums, also called muraqqa'. This study is centered on three research axis. First, pictorial practices are analyzed, as well as the general evolution of floral forms on album pages. The taxonomic approach on flower paintings led to highlight regionalisms, but also depiction modes shared between Safavid (1501-1722), Afsharid (1736-1749) and Zand (1750-1794) Persia on one hand, and Mughal India (1526-1857) and Indian provincial courts on the other. The second line of research focuses on cultural and artistic exchanges between the East and the West. Many Persian and Indian flower paintings are copied from European printed herbaria and florilegia from the 15th century. The study of European input on these productions highlights assimilation practices of foreign forms. The third axis questions the role held by flower paintings in albums, or muraqqa'. From the 15th century, flowers gradually spread to become omnipresent in the center of the pages, in the margins and on the bindings. Floral representations take various symbolic values linked to an abundant poetic corpus, but also to Persian, Indian or European patrons who order these precious volumes. Among the conclusions, this thesis suggests new attributions of anonymous drawings to the Persian painter Shafīʻ ʻAbbāsī, and holds a discussion about concepts of copy and assimilation

[EN] This PhD in Fine Arts is the introduction to a Yantric Theory of Drawing as a result of researching plastic forms from the universal principles present in perceptive reality. Based on the yantra as an active element in the drawing of a integral mandalic vision, Drawing re-presents a vision of the world based on aesthetic distance, in which the sum and multiplication of all the parts is contemplated from one point of view, a naked eye. This perspective is transdimensional, whereby co-creative man is capable of making his own vision real, enjoying the aesthetic experience through the practice of Art. Art is the fifth element in which contact with Beauty takes place in a disinterested way. This thesis in its Form and Consciousness explores the fundaments of these aesthetic formulations through its most yogic roots in India. We will add a metaphor to such aesthetic formulations and explain them through the voice of the artist, in which the process of transmutation of the matter, the transformation of the Nature into Art takes place. The shilpi yogi is the inspiration and aspiration of the being which indwells the imagery artist who develops images of himself, the imprints of personal consciousness transcended through transpersonal art forms. Its being, its Presence, can be modulated through plasticity, from the purest abstraction to the finest figurative art. This thesis represents a plastic voyage to the very heart of India, in which an artist and a sadhu go hand in hand as a symbolic encounter between indosophy and the sublime plastic representative of the tragedy of duality, sunk in life under the weight of chiaroscuro. Light is the Great Symbolic Metaphor and the primordial object of the mystery of Science. The space of the heart is the fifth plastic element on which we base our Yantric Theory of Drawing. We use this to reintegrate the coherence of Art from all times and places, reinterpreting it from an optimistic historical standpoint. Drawing gives us the power to make this real (maya-magic), through the yantric vision. This thesis is the foundational preface to a way to make real the dream of the imagined, a function which Art, the original inoculant, has had throughout history. Such a possibility of form-function-power is endorsed by the most ancient foundations of civilization: the great symbolic potential which was crystalised in Man, the complex system of ancient times which doesn't respond to limits, but rather to constellations, the tantra, inspiration and aspiration of quantic meta-physics.<br>[ES] Esta tesis doctoral en Bellas Artes es la introducción de una Teoría Yántrica del Dibujo como resultado de una investigación de la forma plástica desde principios universales presentes en la realidad perceptiva. Basada en el yantra como elemento activo dibujístico de una visión mandálica integral, el Dibujo viene a re-presentar una visión del mundo basada en la distancia estética, en la que la suma y multiplicación de todas las partes es contemplada desde un punto de vista y un ojo genuino, transdimensional, en el que el hombre co-creativo es capaz de realizar su propia visión y disfrutar de la experiencia estética a través de la práctica del Arte. El Arte es el quinto elemento en el que el contacto con la Belleza de modo desinteresado tiene lugar. Esta tesis, como Forma y Consciencia explora los fundamentos de estas formulaciones estéticas, a través de sus raíces más yóguicas, en India. A tales formulaciones estéticas les añadimos una metáfora y las explicamos a través de la voz del artista, en el que se da el proceso de transmutación de la materia, la transformación de la Naturaleza en Arte. El silpi yogui es la inspiración y aspiración del ser que habita en el artista imaginero, quien desarrolla sus propias imágenes o la huella de la consciencia personal que se supera a sí misma a través de la plástica de lo trans-personal. Su ser, solo Presencia, se deja modular en el vehículo plástico desde la más pura abstracción a la más fina figuración. Esta tesis representa un viaje plástico al corazón de la India, en el que van de la mano una artista y un sadhu como encuentro simbólico de la indosofía y el sublime representante plástico de la tragedia de la dualidad, sumido en la vida y el peso del claroscuro. La Luz es la Gran Metáfora simbólica y el objeto de misterio primordial de la Ciencia. El espacio del corazón es el quinto elemento plástico en el que se basa nuestra Teoría Yántrica del Dibujo para reintegrar la coherencia del Arte de todos los tiempos y lugares, desde un punto de vista histórico optimista que está en nuestras manos hacer real (magia-maya), a través de la visión yántrica para el Arte, a que da pie el Dibujo. Esta tesis es el prolegómeno fundacional de una vía de hacer real el sueño de lo imaginado, como ha venido haciendo el Arte como inóculo original a lo largo de la Historia. Tal posibilidad de forma-función-poder está avalada por los más antiguos fundamentos de la civilización, el gran potencial simbólico que fue posible cristalizar en el Hombre, el sistema complejo de la antigüedad que no responde a límites, sino a constelaciones, el tantra, inspiración y aspiración de la meta-física cuántica. CLARA M. SEVILLA SEGUÍ<br>[CAT] Aquesta tesi doctoral en Belles Arts és la introducció d'una Teoria Iàntrica del Dibuix com a resultat d'una investigació de la forma plàstica des de principis universals presents en la realitat perceptiva. Basada en el iantra com a element actiu del dibuix d'una visió integral del mandala, el Dibuix vindria a re-presentar una visió del món basada en la distància estètica, en què la suma i multiplicació de totes les parts és contemplada des d'un punt de vista i un ull genuí, "transdimensional", en què l'home co-creatiu és capaç de realitzar la pròpia visió i gaudir de l'experiència estètica a través de la pràctica de l'Art. L'Art és el cinquè element en què el contacte amb la Bellesa hi té lloc de forma desinteressada. Aquesta tesi, en tant que Forma i Consciència, explora els fonaments d'aquestes formulacions estètiques mitjançant unes arrels basades en sistema del ioga, pel que fa a l'Índia. A aitals formulacions estètiques els afegim una metàfora, i les expliquem per mitjà de la veu de l'artista, l'individu en qui es produeix el procés de transmutació de la matèria, la transformació de la Natura en Art. El silpi iogui és la inspiració i aspiració de l'ésser que habita en l'artista imaginer, qui desenvolupa les seves pròpies imatges o l'empremta de la consciència personal que se supera a si mateixa a través de la pràctica d'allò trans-personal. El seu ésser, tan sols Presència, es deixa modular en el vehicle plàstic des de la més pura abstracció fins a la figuració més fina. Aquesta tesi representa un viatge plàstic al cor de l'Índia, en què una artista i un sadhu, plegats, conflueixen de manera simbòlica en la indosofia i el sublim representant plàstic de la tragèdia de la dualitat, immers en la vida i el pes del clarobscur. La Llum és la Gran Metàfora simbòlica i l'objecte primordial de la ciència. L'espai del cor és el cinquè element plàstic en què es basa la nostra Teoria Iàntrica del Dibuix, el propòsit del qual consisteix a reintegrar la coherència de l'Art de tots els temps i llocs, des d'un punt de vista històric i optimista, que tenim a les nostres mans convertir en real (màgia-maia) a través de la visió iàntrica per a l'Art, a què dóna peu el Dibuix. Aquesta tesi és el prolegomen fundacional d'una via per tal de materialitzar el somni respecte d'allò imaginat, com ha vingut fent l'Art com a inòcul originari al llarg de la Història. Aquesta possibilitat de forma-funció-poder és avalada pels més antics fonaments de la civilització, el gran potencial simbòlic que fou possible cristal·litzar en la figura de l'Home, el sistema complex de l'antiguitat que no respon a límits, sinó a constel·lacions, el tantra: inspiració i aspiració de la meta-física quàntica.<br>Sevilla Seguí, CM. (2016). Forma y Consciencia: Fundamentos para una Teoría Yántrica del Dibujo [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/63259<br>TESIS

Dès la fin du XIXe siècle, la Lebensreform (« réforme de vie ») recouvre trois aspects qui sont la modernité (ère industrielle), la crise des valeurs et l'émergence de nouvelles pratiques artistiques, culturelles et sociales dans les pays de l'espace germanophone. La Lebensreform est une réponse aux ruptures de la modernité ; de nouvelles formes de vie collectives voient le jour. Les espaces d'accueil fondent leur propre mode de vie autour du programme d'une réconciliation avec la nature, en adoptant plusieurs réformes de la vie. Parallèlement, l'Inde artistique et spirituelle évolue et influence l'art moderne occidental, d'où l'apparition de passerelles transculturelles. Les artistes de la Lebensreform adoptent de nouveaux modes d'expression corporelle qui s'inspirent de l'art indien (mudrâs, rythme, etc.). Il s'agit dans notre thèse d'aborder l' « esthétique du performatif » ; l’art de la danse moderne devient un mode de communication à part entière, c'est-à-dire un langage non verbal, traité sous l'angle du concept de performatif. L'art moderne, qui se développe dans l'espace germanophone, conduit à une nouvelle quête, celle d'une recherche de sa propre identité à travers l'exploration du mouvement<br>From the end of the 19th century, the Lebensreform (Life reform) covers three aspects which are modernity (industrial era), crisis in values, and the emergence of new artistic, cultural and social practices in German-speaking countries. The Lebensreform is a response to the break with modernity; new collective lifestyles are born. Hosting places build their own lifestyle around a program of renewals and reconciliation with nature, adopting several reforms of life. At the same time, artistic and spriritual India evolved and influenced modern Western art from whence grew cross-cultural gateways and bridges. Artists from the Lebensreform adopted new corporal forms of expression inspired by Indian art (mudrâs, rythm, etc.). This thesis concerns itself with the « esthetic performative » with the knowledge that the art of modern dancing, viewed from the angle of the performative concept, may be said to have emerged as a global mode of communication, and a non verbal language. Modern art as developed in German-speaking community has also led to a new quest, a search for our own identity through an exploratory movement

Longtemps, l’indianisation a été considérée comme un phénomène historique de transfert d’éléments artistiques, politiques et religieux de l’Inde vers l’Asie du Sud-Est. Or, de plus en plus, la protohistoire de l’Asie du Sud-Est apparaît comme une période clef du processus d’acculturation. C’est ce que suggère l’interprétation sociale des transferts techno-morpho-stylistiques d’origine indienne identifiés au sein de l’assemblage céramique de Khao Sam Kaeo. En effet, elle conduit à penser que le passage de traits culturels indiens a résulté d’une assimilation sélective de la part des autochtones. Elle suggère également que ces traits étaient réinterprétés afin d’être mis au service de représentations locales : à Khao Sam Kaeo, les formes de la transculturation, non fondées sur des rapports de domination, pourraient s’être exercées comme une appropriation identitaire des traits de culture indienne. Si notre travail semble montrer que les élites ont été les vecteurs majeurs des emprunts faits à l’Inde, il témoignerait également du rôle primordial joué par les artisans, dont certains, d’origine indienne, auraient travaillé sous le patronat d’élites locales. Le travail sur place d’artisans exogènes implique une réponse importante de l’Inde dans les échanges, ce qui contrecarre la vision unilatérale de ces derniers, laquelle ne tient pas compte de l’impact des sociétés sud-est asiatiques sur celles du sous-continent indien. Au cours de la protohistoire, les réseaux tournés vers le Golfe du Bengale se sont entremêlés avec ceux de la mer de Chine Méridionale. L’étude des céramiques de Khao Sam Kaeo suggère que ces échanges ont induit le déplacement de certains groupes sociaux (migrants, marchands, artisans) : l’analyse de la distribution interne des différentes traditions céramiques montre que les acteurs étrangers étaient cantonnés à certaines zones du site et témoigne du rôle résolument actif des populations locales, qui se sont adaptées à la présence d’étrangers en structurant l’espace proto-urbain<br>For a long time, indianisation was considered as a historical phenomenon involving the transfer of artistic, political, and religious elements from India to Southeast Asia. But increasingly, Southeast Asian protohistory appears to be a key period in the acculturation process. This is suggested by the social interpretation of techno-morpho-stylistic transfers of Indian origin that have been identified at the heart of the ceramic assemblage of Khao Sam Kaeo. Indeed, it shows that the transfer of Indian cultural traits may result from selective assimilation by the indigenous peoples. It also reveals that these cultural traits were probably reinterpreted in order to be placed at the service of local representations: at Khao Sam Kaeo, the forms of transculturation were not based on relations of domination. If this study shows that the elites were probably the major vectors of cultural borrowings from India, it also suggests the primordial role played by craftsmen, some of whom were probably Indian and would have worked under the patronage of local elites. The work of exogenous potters at Khao Sam Kaeo indicates that India played an important role in trade, a contention that challenges the unilateral view of trade, which ignores the impact of Southeast Asian societies on those of the Indian subcontinent. During the protohistory, trade networks oriented towards the Bay of Bengal intermingled with those of the South China Sea. The study of Khao Sam Kaeo’s ceramics seems to show that these exchanges induced the movement of certain social groups (migrants, merchants, craftsmen): analysis of the internal distribution of different ceramic traditions shows that foreign people were confined to certain areas of the site and may testifies to the resolutely active role of the local populations, which structured the proto-urban space adapting to the presence of foreigners in trans-Asiatic exchanges

In view of the scarcity of Indian women in the South African art field, this study investigates how issues of race, class and gender can affect the decision to become and sustain a career as a professional artist. By exploring the historical background of the Indian community and their patriarchal mind set it becomes clear that women's roles in this community have always been prescribed by tradition and cultural values, despite western influence. Moreover the legacy of apartheid created a situation in which black artists, especially women. have not always benefitted in terms of career opportunities. The research is based on case studies of five Indian women who have received due recognition as artists: Lalitha Jawahirilal, Usha Seejarim, Sharlene Khan, Simmi Dullay and Reshma Chhiba. These artists' lives, careers and artistic output are closely studied, documented and critically interpreted using key concepts such as orientalism, black feminism and post colonialism.<br>Art History, Visual Arts & Musicology<br>M.A. (Art History)

碩士<br>國立中央大學<br>資訊管理學系<br>104<br>With the fierce growth of Internet and Entertainment industry, through connection of Internet and common language, any art requirement of any company can be done by any artist anywhere on earth. Also, through the Internet, artists’ personal work can be sold without the need of mediums, and publishers; Crowdfunding sites also help artists get financial support directly for their continuous creating. However it’s also the Internet helped knowledge and know-how spreading, and the price down of creating devices (pen tablet and art software), anyone can claim themselves artist and try to take cases, for everyone has the technique and production tools, making competition rise. This research first shows some main runways of Internet indie graphic artists: Art-oriented SNS, commissions from clients, crowdfunding websites, and doujin(fan art) creation and selling. It also reviewed articles of key success factors and competition strategy. Through case interview, it found the key success factors, value chains and the five forces of Internet indie graphic artists, moreover found the three aspects an Internet indie graphic artists must achieve to grab success.

Rembrandt’s two dozen copies of Mughal paintings that he created between the years 1654 and 1660, remains an obscure collection of drawings within the artist’s extensive body of work. In the scholarship, these drawings are usually framed as his interest in costumes and gestures. This interpretation, however, does not fully take into account Rembrandt’s sensitivity towards cultural and religious tolerance, as exhibited in all aspects of his artistic practice. Prior to his Mughal drawings, Rembrandt already exhibited a curiosity for foreign peoples and places. As a resident of Amsterdam, the global epicenter of Europe, he took advantage of his cosmopolitan atmosphere by actively collecting objects from Asia and the New World brought in by the Dutch East India Company. His art, moreover, did not remain impervious to this dynamic and diverse environment, as evinced by the numerous drawings Rembrandt made to document the different sights and peoples that he encountered in the city. His Mughal copies, moreover, do not resemble the sketches that scholars consider as exhibiting the artist’s curiosity for Oriental attire and distinct body language; instead, they closely parallel the kinds of drawings he made after works of art he found visually appealing. Rembrandt experimented with different kinds of lines and contours to imitate and adapt the Mughal style to diversify his artistic repertoire. His thoughtful engagement reveals that Rembrandt viewed Mughal art style as legitimate forms he could utilize to develop new compositions, or even to challenge and correct existing pictorial traditions. Rembrandt’s Mughal drawings, rather than being an obscure collection, demonstrate instead his unique ability to craft works of art to be reflective of his rich, diverse environment. This strong artistic desire for pictorial experimentation, in addition to his sensitivity for acute narrative interpretation, coalesces to form a more unified portrait of Rembrandt as an empathetic, albeit ambitious, artist.<br>text

Text in English<br>India’s film production industry, referred to commonly as Bollywood, and the film production industry of America, referred to as Hollywood, have created a large number of musical films since sound was introduced into motion pictures. Both create fictional stories—illusions, if you will—through the use of prerecorded sound and playback technology coupled with lip-synching interpolated onto filmed images. While studies exist that treat the music of both production centres, there is very little research that compares both, and very little research on playback singers. Playback singers in both Bollywood and Hollywood may or may not be the actors who are seen on the screen; however, people in the Bollywood system—its directors, producers, creators, as well as the journalists who write about it—are very open about this practice, and playback singing is a highly respected career. Conversely, in the Hollywood system, playback singing that is done by an individual other than the on-screen actor remains uncredited or under-credited, and those who do the work are just hired workers; they are not respected as artists in the same way that their Bollywood counterparts are. I believe this difference has a cultural basis, shaped by variation in the way that illusion and reality are expressed by film production staff and interpreted by audiences in the two cultures. Through primary and secondary research, this project seeks to discover the differences and to understand how cultural implications of illusion and reality affect the playback singers in both film centres.<br>Art History, Visual Arts & Musicology<br>D. Litt et Phil. (Musicology)

Drawing loosely on feminist and post-human notions of learning as an “untamed” and “more-than-multiple” experience (Deleuze & Guattari, 1987, p. 154), I play with the use of Artistic Memoir as a method to explore my affectual experiences (Braidotti, 2002; Springgay, 2008) as a British Columbian, school-based Child and Youth Counsellor working as a visitor in the context of a shanti-school in Goa, India. Well practiced in traditionally Western paradigms of education, my intention is to move beyond my familiar understandings of what it means to be educated in North America to heighten awareness of intuitive forms of learning that arise in an encounter between intra-acting bodies, materials, and the agentic spaces between (Deleuze & Guattari, 1987). Understanding learning experiences as relational and enigmatic events, composed of rather than in the world, I engage with an inductive, intuitive and becoming-with process, exploring the emerging themes and entanglements of my presence in this Goan classroom as they grow out of a collection of child-driven, emergent art projects (Deleuze & Guattari, 1987; Mazzei, 2010). As I take on the implications of methodology and “data analysis” in post-qualitative research, I think with Deleuze and Guattari's (1987) constructions of maps, expressing my interpretation of these events with my own poetic and visual assemblages and navigating curiosities through Artistic Memoir. Thinking with philosophies of immanence (Deleuze & Guattari, 1987), new materiality (Braidotti, 2002; Stewart, 2007) and the autobiographical nature of a/r/tography (Irwin, Beer, Springgay, Grauer, Xiong, Bickel, 2006), Artistic Memoir has unravelled as a nomadic method, giving my experiences and understandings of the projects a temporal body – a disjointed place for my data, fragments of my affectual reverberations with Goa, to momentarily settle. A fragmented and non-linear collection of poems, images, anecdotes and short stories, this composition begins from the middle and poses no end; its process is designed to stir up questions over answers. Through this method, my intention is to look into the “events of activities and encounters” with affective, arts-based education, “evoking transformation and change” in my experience with “data” and understanding of learning, being and knowing (Hultman & Taguchi, 2010, p. 535).<br>Graduate<br>2018-05-01<br>0273<br>0727<br>0998<br>a.berry089@gmail.com

During the Arts and Crafts period, from about 1880 to 1930, popular perceptions of Native Americans and their basketry emphasized pristine cultures prior to the effects of contact with Europeans. Pasadena basketry collector and dealer Grace Nicholson used an ethnographic approach, along with mass-marketing, when selling Native Northwestern California baskets in order to cater to Arts and Crafts period collectors' expectations of traditional Indian baskets. In addition, Nicholson expanded her collecting methods to include documenting individual weavers in the field, though she rarely used this documentation as a sales strategy. Before Nicholson began traveling and collecting baskets directly from Native American weavers in Northwestern California, basketry from this region was almost always collected or sold as the work of an anonymous weaver. This approach—what I refer to as the ethnographic paradigm in the dissertation—featured the traditional, pre-contact context of the basketry, but not the documentation of individual innovation. Grace Nicholson started a new paradigm or model for collecting Native Northwestern California basketry through her select documentation of individual artists. Nicholson's documentation of Elizabeth Hickox, master weaver of Northwestern California baskets during the Arts and Crafts period, has been thoroughly addressed in Art Historical scholarship. I argue that Nicholson also recorded information about other Northwestern California weavers from Hickox's generation, such as Yurok weaver Nellie Cooper. In this dissertation, I demonstrate that the Nicholson archival collection, along with other important archival sources, can be used by researchers to help identify lesser-known Northwestern California weavers from the turn of the 20th century today.<br>Graduate

My dissertation, Wixárika Art and Artists: Resisting Neocolonialism While Crossing Visible and Invisible Borders is an ethnographic study of the Wixáritari who have lived in the region of Northern Central Mexico known as El Gran Nayar or the Sierra Madre Occidental, with a specific focus on the Wixáritari who live in Huejuquilla el Alto, Guadalajara, and Zacatecas, Mexico. This dissertation examines the legal, cultural and historical influences as well as the sociopolitical and economic circumstances that have pushed Wixárika (Huichol) art and artists out of their original homeland in Mexico. This dissertation concentrates on the historical construction of race in Mexico to illustrate that Wixáritari have been pushed outside of their territories either willingly or unwillingly. I analyze and interpret this concept through historical events and the process of colonialism through which politics, policy and laws have shaped and created hierarchies of race. Through ethnography I illustrate that the Mexican government's neoliberal policies and laws have adversely affected Wixáritari artists and non-artists in the Sierra Madre, and also those who work in the large cities where half the population now resides. Furthermore, this work illustrates that the Wixáritari are organizing against the Mexican laws and policies that served to exclude and marginalize them. Wixáritari activism is thus creating powerful social change. By using the theoretical framework ethnoexodus, I demonstrate that Wixáritari cannot be put in a box or be stereotyped as a homogenous pan-ethnic group.The second half of my dissertation is devoted to "voluntary" or involuntary im(migration) processes that take place. I specifically explore these forms of dislocation through the use of oral history, oral narratives, and testimonios. I have found that the Wixáritari have a desire to reproduce their traditions and resist modernity. They have experienced cultural changes and in the process they have been integrated into their surrounding society by forming new relationships and learning to adapt on their own terms to the capitalist system and "modern" way of life. In these spaces, I argue that their homeland and geographic space in and outside of the Sierra Madre Occidental along with their spirituality is part of their identity, which crosses many borders that are both visible and invisible.<br>text

In this study I interviewed fourteen professional, First Nations women artists who work predominantly in the so-called men's style of Northwest Coast art. I conclude that these artists challenge the rigid dichotomy set forth in the literature between men's and women's art by successfully working as carvers and designers in the formline style.

Six First Nations women artists tell their stories about learning their art and culture. Previous research has paid little attention to the learning experiences of First Nation women artists. Ethnographic research methods were used in this qualitative study. Field research included video and audio recorded intensive open-ended interviews with three Coastal Salish women from Sechelt, British Columbia, and three Cree women from Pukatawagan, Manitoba, as they tel l how essential learning and teaching, art and culture are to them, their children and their communities. This study shows that there is a need for curricular reform and teacher education reform so that the school experiences for First Nations students will reflect and be sensitive to their histories, traditions and overall cultural identities. From testimonies presented in this thesis, it is evident that effective teaching of relevant cultural art content that results in meaningful learning leads to increased self knowledge, confidence and pride.

In this study I explore two understudied aspects of India's informal economy, viz. the institutions that sustain informal knowledge, and gender disparities among self-employed workers using a combination of primary survey and interview methods as well as econometric estimation. The data used in the study come from the Indian National Sample Survey (NSS) as well as from fieldwork conducted in the city of Banaras (Varanasi) in North India. The vast majority of the Indian work-force is "uneducated" from a conventional point of view. Even when they have received some schooling, formal education rarely prepares individuals for employment. Rather, various forms of apprenticeships and on-the-job training are the dominant modes of knowledge acquisition. The institutions that enable creation and transfer of knowledge in the informal economy are poorly understood because informal knowledge itself is understudied. However, the rise of the so-called "Knowledge Society" has created a large literature on traditional and indigenous knowledge and has brought some visibility to the informal knowledge possessed by peasants, artisans, and other workers in the informal economy. The present study extends this strand of research. In Chapter Three, taking the weaving industry as a case-study, work is introduced into the study of knowledge. Thus informal knowledge is studied in the context of the production relations that create and sustain it. Further, the family mode of production and apprenticeships are foregrounded as important institutions that achieve inter-generational transfer of knowledge at a low cost. Clustering of weaving firms ensures fast dissemination of new fabric designs and patterns which holds down monopoly rents. In Chapter Four taking advantage of a recently issued Geographical Indication (GI), an intellectual property right (IPR) that attempts to standardize the Banaras Sari to protect its niche in the face of powerloom-made imitation products, I investigate the likely effects of such an attempt to create craft authenticity. Through field observations and via interviews with weavers, merchants, State officials and NGO workers, I find that the criteria of authenticity have largely been developed without consulting artisans and as a result tend to be overly restrictive. In contrast, I find that weavers themselves have a more dynamic and fluid notion of authenticity. Homeworking women are widely perceived to be among the most vulnerable and exploited groups of workers. Piece-rates and undocumented hours of work hide extremely low hourly wages and workers themselves are often invisible. Though women form a crucial part of the Banaras textile industry, to the outside observer they are invisible, both because they are in purdah and because women's work proceeds in the shadow of weaving itself, which is a male occupation. In Chapter Five, using field observations, interviews, and time-use analysis I show that women perform paid work for up to eight hours a day but are still seen as working in their spare time. Because the opportunity cost of spare time is zero, any wage above zero is deemed an improvement. Hourly wage rates in Banaras are found to be as low as eight to ten cents an hour, well below the legal minimum wage. In Chapter Six, I use National Sample Survey data on the informal textile industry to test the hypothesis that emerges from ethnographic work in Banaras. If women are indeed penalized for undertaking joint production of market and non-market goods, women working on their own without hired workers are expected to perform much worse than men working by themselves. I find that after accounting for differences in education, assets, working hours, occupation and other relevant variables, women working by themselves earn 52% less than their male counterparts. This gender penalty disappears in case of self-employed women who can afford to employ wage-workers. I also show that women in the informal economy are more likely to be engaged in putting-out or subcontracting arrangements and suffer a gender penalty as a result.

abstract: There exists a significant overlap between American Indian history and American history, yet historians often treat the two separately. The intersection has grown over time, increasingly so in the 20th and 21st centuries. Over time a process of syncretism has taken place wherein American Indians have been able to take their tribal histories and heritage and merge them with the elements of the dominant culture as they see fit. Many American Indians have found that they are able to use their cultural heritage to educate others using mainstream methods. Brummett Echohawk, a Pawnee Indian from Pawnee, Oklahoma demonstrated the ways in which American Indian history merged with the larger American historical narrative through his knowledge of Pawnee history and heritage, American history, and his active participation in mainstream society throughout the 20th and into the 21st century. As a student in a government run Indian boarding school, a soldier of the famed 45th "Thunderbird" Infantry Division in World War II, and a successful artist, writer and public speaker, he offered a view of how one could employ syncretism to the advantage of all. Using an ethnohistorical approach to the subject allows a consideration of Brummett Echohawk as an individual, a representative of the Pawnee people, American Indians generally, and as an American. The ethnohistorical approach also helps elucidate the connection he made between success in life and truly fulfilling the Pawnee meaning behind their name Chaticks-si-chaticks, Men of men. Personal papers, published writings, as well as published and privately owned art (ranging from fine art in prestigious galleries to comic strips) provide insight as to how Echohawk made clear the connections between the Pawnee (and American Indian) past and American history. Interviews with family members, friends, and Pawnee veterans also demonstrate the significance of his life for the Pawnee people and the United States, particularly in terms of the martial tradition.<br>Dissertation/Thesis<br>Ph.D. History 2012