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Stent, David R. J. "The region of disillusionment (the experience of writing research as art)." Thesis, University of Reading, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542063.
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McKnight, Calvin (Calvin Bruce) Carleton University Dissertation Geography. "Public art and urban spaces; the place of art in the public interest in the National Capital Region." Ottawa, 1996.
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Bauer, Christine, and Christine Strauß. "Educating artists in management: an analysis of art education programmes in DACH region." Taylor & Francis Group, 2015. http://dx.doi.org/10.1080/2331186X.2015.1045217.
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Labour force in the art sector is characterised by high qualification, but low income for those people who perform the core contribution in art, i.e. the artists. As artists are typically self-dependent in managing their business, they should have managerial skills besides those skills necessary to perform their artistic core activities. If the lack of managerial skills is a reason why artists fail to make a living from their talent, then this chain of cause and effect could be ruptured by adequate educational opportunities. This paper analyses the curricula of a wide range of institutions offering art education programmes and identifies their managerial learning content. In doing so, we focused on German-speaking countries, the so-called DACH region (i.e. Germany, Austria and Switzerland, whereas D, A and CH are country codes). We identified and analysed 159 course syllabi of 81 art universities, schools and academies. The results of our study indicate a lack of managerial learning contents: a vast majority of institutions follow a rather traditional approach to art education, focusing solely on artistic competences. We suggest the implementation of managerial learning contents to better prepare art students for successful careers in the arts.
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Montgomerie, Elizabeth Amber. "Images of rural activities on mosaic pavements in Late Antiquity in the Levant." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:06c62da9-7dcf-4b34-96ec-3d5ea425e2cb.
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Images of rural activities become very popular in mosaic floor decoration in the Levant during the Late Antique period. I aim to explore different categories of iconography and discuss the images of people engaged in rural activities, such as pastoralism; hunting, fishing and activities connected with the vintage. I also aim to look at imagery that is often discussed in isolation without relation to other connected iconographic categories. The symbolic meaning of the representations of the zodiac found in synagogues, for example, is often discussed in detail without also looking at the rural calendars that appear in Christian contexts during the same period in the same region. I also want to explore the archaeological evidence for the activities that appear on the mosaic pavements. Studying both the archaeology and the iconography will, I hope, help us understand what the use of these particular categories of iconography in decorative schemes can tell us about the society that created them.
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Nathan, Idit Elia. "Art of play in zones of conflict : the case of Israel Palestine." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13458/.
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One of the effects of the Israel Palestine conflict, with its deployment of expansive state violence and divisive political rhetoric, is the stifling of critical engagement. This practice- based research project investigates play as a tactic used by artists from within the region to counter this impact by re-igniting participants’ critical engagement. Framed as ‘critical play’ (Flanagan, 2009) the artistic practices under investigation unequivocally deploy ludic forms, mechanics, and attributes to effectively challenge aspects of Israel Palestine’s paradigmatic political situation. Central to the thesis is a theoretical questioning of what is gained by deploying play in artistic practice. It extends Ariella Azoulay’s (2012) call for a more inclusive and participatory stance as a means of opposing Israeli state violence. This study therefore examines artworks that tactically harness play in order to critically and physically engage their audiences. Drawing on Giorgio Agamben’s (2007) idea of play as a productively disruptive force, the thesis argues that play is uniquely appropriate for creating intimate and social encounters where artists and their audiences can experiment with and enact scenarios relating to Israel Palestine that, when framed and freed as art, can operate critically. The thesis questions how alternative views, narratives of belonging to the body politic and positions vis à vis Israeli colonisation might be played out. Since documented research into this vital area of playful artistic responses to Israel Palestine’s political reality is nonexistent, the thesis redresses this lack. Led by an enquiry which stems from and includes my own practice, the thesis is in dialogue with artists and theoreticians who relate not only to play but also to Israel Palestine’s political complexity. Positioned at the hitherto uncharted intersection of art, play and Israel Palestine, the research project proposes re-engagement with utopian ambitions and civic imaginings, without necessarily promising to satisfy them.
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Latha, Velu. "Cave temples of the Pāṇḍya country, art and ritual : (with special reference to Putukkōṭṭai region) /." Delhi : Sharada publishing house, 2005. http://catalogue.bnf.fr/ark:/12148/cb40158682f.
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Guerrero-Rippberger, Sara Angel. "30° from the Northern Tropic : art, region and collective practices from urban Latin American and Arab worlds." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12038/.
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This thesis investigates the socially imagined representation of two areas of the global South, through the lens of contemporary art. It traces the historicisation of urban Latin America and the Arab world along a timeline of critical lenses, questioning their construction as imagined sites. Re-occurring tropes from exhibition spaces acting as representations of the global South on a macro-level are contrasted with observations from a local level, in an ethnographic study of nineteen artist groups of four capital cities of Latin America and the Arab world. The research draws upon sociological methodologies of research, arts methodologies and historicisation to chart the scope and function of these groups against the backdrop of the global art-institution’s so-called geographic turn and it’s romanticisation of the precarious state as the new avant-garde. Moving away from the traditional cartography of art and social history, this thesis offers an expanded concept of collectivity and social engagement through art, and the artist group as unit of social analysis in urban space. Putting these ideas into dialogue, artist-led structures are presented as counter-point to collective exhibitions and to the collectivity of national identity and citizenship. An abundance of artist groups in the art scene of each city represents an informal infrastructure in which a mirror image of inner-workings of the city and art world become visible through this zone of discourses in conflict. This unorthodox exploration of art, region, and collective expression launches into the possibility of new constellations of meaning, tools to recapture the particulars of everyday experience in the unfolding of large narratives. Examining the place of collective art practices in the socio-political history of the city, this intervention into current theory around the role of art from the global South traces the currents and counter-currents of the art-institution and its structures of representation re-enacted in places of display and public discourse -- the museum, the news, the gallery, the biennial,the street and the independent art space.
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Yu, Kopotienko V. "FEATURES OF ARCHITECTURE, INTERIOR DESIGN AND HOUSEHOLD GOODS OF NOVOMYRHOROD DISTRICT, KIROVOHRAD REGION OF UKRAINE." Thesis, ПОЛІТ.Сучасні проблеми науки.Гуманітарні науки:тези доповідей XVII Міжнародної науково-практичної конференції молодих учених і студентів:[y 2-x т.].Т.2(м.Київ,4-7 квітня 2017 р.)/[ред.кол.:В.М.Ісаєнко та ін.]; Національний авіаційний університет.-К.:НАУ,2017.-374 с, 2017. http://er.nau.edu.ua/handle/NAU/27732.
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Conclusions. The investigation has helped identify the peculiarities of the architecture, interior design and household goods of Novomyrhorod district, the formation peculiarities which correspond to the general stages of the country development. The most preserved buildings for their aesthetic value for the region are Elias Church and St. Nicholas Church, Anna Dmitrian hospital and Slatopolsky gymnasium.
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Willis, Elizabeth Anne. "Uli painting and identity : twentieth century development in art in the Igbo - speaking region of Nigeria." Thesis, SOAS, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264967.
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Lic, Agnieszka. "Christian stucco decoration in southern Mesopotamia and the Persian Gulf region, sixth to ninth centuries." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:23636a63-9682-4a2a-b27b-49f2f3df59ac.
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Christian archaeology and art of the region under the jurisdiction of the Church of the East in the Late Antique and early Islamic period is an underresearched field of studies, which exists in between more developed disciplines such as Byzantine and Syriac studies as well as Early Christian, Sasanian and Islamic archaeology and art history. However, archaeological excavations of the last century, especially in southern Mesopotamia and the Persian Gulf region, now allow research to be conducted on the most important medium of artistic expression of the region - stucco. Considered from the technological, stylistic and iconographic point of view and within the aforementioned cultural contexts, it reveals that the Christian stucco production of the region was shaped by Sasanian traditions and contemporary Byzantine and Islamic influences, but also that it developed an innovative and highly creative vocabulary of forms and motifs. It was especially among the Gulf communities of Sir Bani Yas, al-Qusur and other sites that this transformative approach towards traditional and contemporary artistic models manifested itself within a short period between the late seventh and the early ninth centuries. Slightly more conservative is the character of Christian art of southern Mesopotamia in the eighth and early ninth centuries. An interesting exception is a relief found at a church in Koke in the region of Seleucia-Ctesiphon, in which the Sasanian technique of deep relief is combined with the Byzantine dress of the person represented. This fusion of culturally divergent elements testifies to the double identity of the Christians living under the Sasanians - and later, in the early Islamic caliphate - who were recognized as a part of society but distinctive for their religion.
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Py, Michel. "Culture, economie et societe protohistoriques dans la region nimoise." Montpellier 3, 1987. http://www.theses.fr/1987MON30023.
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Enquete sur l'evolution d'une civilisation protohistorique regionale, entre la fin de l'age du bronze et notre ere, sur la base des fouilles et decouvertes archeologiques intervenues en languedoc oriental dans les environs de nimes. Etude systematique de la documentation sous le triple aspect chronologique, typologique et quantitatif. Synthese des donnees faisant ressortir pour chaque phase (bronze final, premier et deuxieme age du fer) les caracteres specifiques de la culture indigene, les fondements de l'economie de production, de fabrication et d'echange, et les transformations structurelles des formations sociales en relation avec le contexte historiqueAn enquiry into the evolution of a protohistoric regional civilization, from the late bronze age to our era, based on excavations and archaeological discoveries made in eastern languedoc around nimes. Systematic study of the information, through chronological, typological and quantitative aspects. Data-synthesis emphasizing, at every phase (late bronze age, first and second iron age), the specific features of the producing, manufacturing and exchanging economy, and the structural transformations of social communities, in connection with the historical context
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Mattiello, Andrea. "Latin 'basilissai' in Palaiologan Mystras : art and agency." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8385/.
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This dissertation demonstrates that the presence of Latin basilissai, Catholic wives of the Byzantine despots of Morea, in Mystras between 1349, when the city became the seat of the Despotate, and 1460, when it was surrendered to the Turks, had an impact on the artistic and cultural production at court. These foreign women were agents of the ruling political and economic elites of Italian and Frankish courts, and expressed their agency by mediating their specific cultural and artistic traditions into the production of their adopted city. Art and cultural historical approaches, in which attention is focused on painted and sculpted details, inscriptions, archaeological remains, architectural design, and urban planning, are used to show that the Latin women were historical agents, whose presence can be detected in Mystras. A multidisciplinary analysis of case studies reveals cross-cultural motifs in the artistic production, demonstrating the relationship between pieces of evidence. The production of the workshops of Mystras expressed features that were, in some cases, responses to Constantinopolitan and Byzantine models, while, in others, autonomous and innovative, revealing complex cross-cultural references. Ultimately, this study shows that the particular cultural and artistic landscape of Mystras is indebted to exogenous cultures linked to these women.
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Erickson, Britta Lee. "Patronage and production in the nineteenth-century Shanghai region Ren Xiong (1823-1857) and his sponsors /." online access from Digital dissertation consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9714107.
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Ryder, Marianne. "Forming a New Art in the Pacific Northwest: Studio Glass in the Puget Sound Region, 1970-2003." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1096.
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The studio glass movement first arose in the United States in the early 1950s, and was characterized by practitioners who wanted to divorce glass from its industrial associations and promote it as a fine arts medium. This movement began in a few cities in the eastern part of the country, and in Los Angeles, but gradually emerged as an art form strongly associated with the city of Seattle and the Puget Sound region. This research studies the emergence and growth of the studio glass movement in the Puget Sound region from 1970 to 2003. It examines how glass artists and Seattle's urban elites interacted and worked separately to build the support structures and "art world" that provided learning and mentoring opportunities, workspaces, artistic validation, audience development, critical and financial support, which helped make glass a signature Puget Sound art form, and the role that artist social networks, social capital, cultural capital and cultural policy played in sustaining this community. In particular, the research seeks to explore the factors that nourish a new art form and artist community in second-tier cities that do not have the substantial cultural and economic support structures found in the "arts super cities" such as Los Angeles, New York City, and San Francisco. This study contributes to the growing literature on artist communities, and the roles played by social capital, cultural capital, urban growth coalitions and policy at different stages of community development. Results can assist policymakers in formulating policies that incorporate the arts as a form of community development.
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Slinker, Eva Havas. "Snake River : a personal search." PDXScholar, 1990. https://pdxscholar.library.pdx.edu/open_access_etds/4138.
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This thesis includes twenty landscape paintings, primarily oil on canvas, inspired by a trip to the Hell's Canyon Country of the Snake River.
The search for a personal idiom necessitated introspection, and the visual interpretation of the recalled experience required that formal issues of painting be synthesized to communicate the essential response to the landscape. The images progress from the depiction of deep space to compositions of the component parts of the landscape: trees, water, and rock.
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Hermand, Séverine. "Urban form and energy nexus: a multi-scalar investigation for a sustainable urbanism." Doctoral thesis, Universite Libre de Bruxelles, 2020. https://dipot.ulb.ac.be/dspace/bitstream/2013/305608/3/S.Hermand.pdf.
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The increasing challenges caused by non-renewable energy in regard to climate change, the increased flux of migration to urban areas, and the undeniable impact of human activities on these phenomena have given rise to a wide range of scientific work analysing the relationship between urban form and energy. Pioneering research in this field shows a link between the density of cities and their energy consumption. While concerns surrounding sustainable urbanism have grown, urban thinking has evolved, and the interdependence between planning and mobility, and planning and building are increasingly being explored beyond the traditional ways in which they have been considered in isolation. Environmentally conscious design of dense urban forms is thus at the heart of sustainable urbanism. This research uses the concept of urban form to explain the city as a spatial phenomenon. Urban form is proposed as an analytical lens through which the contributions of design characteristics are revealed, for an energy-efficient urban planning policy.Although the link between urban form and energy performance is clearly established, research is lacking on the influence of spatial organization on energy saving in cities from efficient urban fabrics. The urban scale dimension of research on energy consumption attracts much less interest than that of the building, which is very present within the literature. Therefore, the research question was formulated as follows: “How can urban form and energy performance be connected to meet the increasingly unique and changing expectations or needs of places and populations?”. In this regard, the approach adopted in this research is a methodological contribution to knowledge.To answer this question, a research framework was developed with several research methods were employed to answer a set of sub-questions. The first –“What are the links between urban form and energy consumption?”– should be seen as exploratory questions to form a complete picture of the problem. It is answered through a combination of literature review and analysis of urban form elements. The second sub-question –“How can urban form indicators be integrated into the decision-making process for an energy-efficient urban planning policy?– is a fundamental question and is theoretically answered by a literature review and through the development of a theoretical framework. The third sub-question –“What are the links between socio-economic variables, transport infrastructure energy consumption and urban form?”– is the first of three questions that structure the empirical research. It resulted in a statistical data analysis for the selected case area, i.e. the Brussels-Capital Region. The fourth sub-question –“ What are the links between building geometry and solar gains?”– is answered with the analysis of a 3D simulation model of a district area in renovation. The last sub-question –“What are the design priorities required to reduce urban energy use?”– led to the development of a conclusion at multiple scales of urban form analysis. After introducing the topic, the research question and the research framework in the first chapter, chapters 2 to 6 respectively respond to each of the sub-questions. To answer the first sub-question, a historical analysis of the relationship between energy and urban form is presented in chapter 2. The discipline of urban form study in the fields of architecture urbanism and geography introduced four main schools of thought and three main approaches to analyse the urban form during the period 1960-2018. These schools support the viability of urban form analysis as an instrument for planning, as it makes us consider how urban form design affects the energy usage of the city. At the same time, urban planners need to consider the urban not to be simply a set of data, but a subject of inquiry that depends on an assumed initial definition and conceptualisation.In chapter 3, the methodological aspects used in this research are detailed and give an answer to the second sub-question. Four complementary systems of urban form elements are highlighted and connected to the energy indicators identified in the literature review. The scale of analysis for each of the urban form elements is also presented in this chapter with argumentation and detailed definition of the urban indicators. At the same time, the econometric statistical analysis is developed and explain the potential of; correlation, cointegration and causality analysis in building an efficient urban planning policy. In chapter 4, the Brussels-Capital Region mobility data for a 26 years period (1990-2016) are statistically analysed. The link between urban form indicators, transport and socio-economic indicators show the importance of road length development on increasing energy consumption in transport for the region. It also highlights the need for policy planning more inclined to take the “time” into consideration to be able to support future energy-efficient policy measure. In chapter 5, the analysis of the relationships between urban form and energy is scaled down to the street and building scales. A solar analysis is conducted on two different urban form models (the closed block and the open block). The results point to the importance of urban planning design considering open space an object of inquiry rather than simply leftover space between buildings. It is also reasserting the need for 3D model analyses in the preliminary stages of the conception of the technical specifications provided by the region for each project. Finally, in the chapter 6, the applicability and merits of the theoretical framework are first reflected upon. Next, the newly gained insights about the processes behind urban form and energy nexus are presented. Then, an answer is given to the main research question in the form of recommendations. These recommendations are based on the idea that the study of urban form development could be used as a powerful tool for crafting urban regulation guidelines and practices for a more integrated, sustainable urbanism.Doctorat en Art de bâtir et urbanisme (Polytechnique)
info:eu-repo/semantics/nonPublished
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Anders, Adam. "Roman light infantry and the art of combat : the nature and experience of skirmishing and non-pitched battle in Roman warfare 264 BC-AD 235." Thesis, Cardiff University, 2011. http://orca.cf.ac.uk/29039/.
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Summary This thesis is an evaluation of Roman light infantry and non-pitched battle combat in the Roman army, from the years 264 BC – AD 235. This study incorporates a thorough etymological assessment of the Latin and Greek vocabulary of light infantry, and how the ancient sources use these terms. Building on this assessment, this thesis then includes a discussion on defining Roman light infantry. From this follows an analysis of the various modes of combat of these troops, including skirmishing, ambushing, small-scale engagements. A ‘face of battle’ approach (after John Keegan) assessing the nature and experience of the various forms of warfare mentioned above is also included.
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Michael, Georgia. "Imaging divinity : the 'invisible' Godhead in early Christian art c.300-c.730." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7318/.
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Representations of the Holy Trinity have increasingly come under scrutiny, exposing two competing paradigms at opposite ends of the theological spectrum: the legitimacy and the illegitimacy of imaging the Triune God with focus on the invisible Father who was imaged as an individual from Late Antiquity and beyond. An overview of these two conflicting views has unveiled a number of inconsistencies in how the Early Christian iconography of God the Father and the Trinity has been interpreted. This thesis provides a unique re-evaluation of the surviving Trinitarian visual material between c.300 to c.730. Primarily, this study collates pictorial evidence preserved in the mediums of sarcophagi, catacomb frescoes, mosaics, illuminated manuscripts and an icon that depicts Divinity. It proceeds to critique modern misconceptions of the identity, form, meaning, function and reception of the depictions. The thesis traces the visual shift amid overt and covert images of Divinity by decoding important artworks such as the Ashburnham Pentateuch and the Codex Amiatinus; Christians visualised explicitly the ' invisibility' of God but created an unprecedented invention, the depiction of the Father through Christ's image. The innovative depiction heralded future visual formulas of Divinity echoing the complexities of Trinitarian material culture of the Mediterranean world.
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Scott, Mary Katherine. "Representation and art production among the contemporary Maya : form, meaning and value of the artesanías from the Puuc region of Yucatán, Mexico." Thesis, University of East Anglia, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.588760.
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The steady rise in tourism in Yucatan beginning in the 1960s has made producing and selling handicrafts a profitable industry and an appealing alternative to other lines of work. The exotic or timeless image of the Maya presented by the tourism industry and popular media sources has influenced the kinds of artistic objects that are produced and sold within Yucatan. Recognising this, artisans create pieces that will appeal to tourists' perceptions of what constitutes authentic Maya culture. Similar situations exist all over the world in indigenous communities that have experienced a sharp rise in tourism in the last fifty years. This has provided an endless array of case studies for anthropologists interested in studying the effects of globalisation and the tourism industry in indigenous areas. In addition to the growing interest in tourism as an anthropological, sociological, economic, and artistic phenomenon has been a greater concern with studying the objects produced in zones of cross-cultural encounter, and the ways in which they are exchanged and consumed by tourists. This PhD thesis discusses tourist art production among the contemporary Maya in the Puuc region of Yucatan, Mexico. Working within tourist art studies as my broader field of scholarly enquiry, I analyse artesanias, a kind of tourist art, for my specific case study. The thesis focuses on representation in Puuc artesanias, and specifically the ideas that are expressed via their form, meaning and value in the context of the Puuc region tourism industry, the vehicle that makes commercial handicraft production possible and viable. The thesis analysis explores how the form and presentation of an object affect its meaning for different actors or agents involved in its production and consumption. The research addresses the way value systems are constructed and how they influence what we consider beautiful, meaningful, or worthy of being purchased or collected. Finally, it examines how the tourism industry affects the creativity, livelihood and identity of Maya artisans who are caught between the tensions of modernity and tradition inherent in any post-colonial society.
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Aydintan, David Arif. "Die kartellrechtliche Zulässigkeit der Regionalkodierung auf DVD, Blu-ray Disc und HD-DVD : nach Art. 81 EG, [Para] 1 GWB und internationalen Abkommen /." Hamburg : Kovač, 2008. http://swbplus.bsz-bw.de/bsz287785262cov.htm.
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Checchia, Viviana. "Beyond the exhibition : a vessel for self-reflexive curating in the Mediterranean." Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/25048.
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This thesis is the written result of a practice-based PhD. The thesis presents a 'located' model of curatorial practice that aims to actively benefit the cultural landscape of host regions. It challenges existing definitions of 'the curatorial', taking a multidisciplinary understanding of curatorial practice and evaluating curatorial methods in light of recent geo-political developments. Concerned with the effects of changes in European cultural policy, and the geopolitical position of the Mediterranean basin, this thesis evaluates contemporary curatorial practices in the Euro-Mediterranean Partnership context and, through practice-based interventions, suggests ways to develop situated curatorial processes, appropriate to their geographical context. Specifically, I argue that the temporary, large-scale exhibition formats financially supported by EU policies, such as the European Regional Development Fund, are not necessarily the most appropriate or beneficial to the cultural development of their host regions. I therefore propose an alternative set of methods, tools and considerations for a self-reflexive model of curatorial practice. This proposal takes the form of a curatorial initiative 'Vessel'; a long-term practice-based research project that seeks models of practice that effectively enable local engagement in cultural production, allowing culture to flourish independently of larger hegemonies. Several of Vessel's experimental initiatives are presented here, and appraised in order to build a theoretical understanding of 'located' curatorial practices that can inform alternative approaches. This research is developed through case studies of Manifesta, Liminal Spaces, Matadero and Intermediae; all of them testing grounds for 'Vessel', a curatorial initiative based in Puglia, Italy. Puglia has been chosen as a site for this research because of its central role in the current Mediterranean situation. This thesis illustrates the theoretical, geographical and historical context of this investigative project, and documents the evolution and outcomes of the curatorial initiative attempted. This thesis represents the first practice-based study of contemporary curatorial practices in the Euro-Mediterranean Partnership (EUROMED) context, which seeks primarily to develop situated curatorial processes appropriate to their geographical context. The thesis discusses aspects of human geography, cultural studies, social science and European studies, all filtered through practical implementation and reflective examination of the main discipline of interest: curatorial studies. This research acknowledges the role of the curator as a mediator between cultural producers and the political and bureaucratic conditions for cultural production. This role offers the opportunity to develop an awareness of the potential influence of those conditions on the artists, their work and their audiences. In other words, the curator is in a unique position to have an overview of the practices, interests and concerns of cultural producers, as well as those of policy makers and administrative bodies, and any potential conflicts of interest that may arise. Thus, curators are in a privileged position to operate as proactive agents, particularly when they observe that cultural policies are not achieving the aim of fostering cultural development. This thesis, therefore, invites curators to consider their responsibility to critically assess the long-term effects of their practice on cultural and epistemological development in Europe. The thesis is divided into four chapters. Chapter 1 presents the research questions, clarifying their terminology and broadly discussing their rationale, context and theoretical focus. The chapter questions current EU cultural and economic strategies and suggests that they may be misguided. In Chapter 2, the level of analysis shifts from the geo-political context to a more specific situation: the position of art practitioners involved in the above situation, and the outcomes produced. Since the exhibition format is popular and has been envisioned by the EU cultural agenda as one of the most effective instruments for creating a dialogue between different geographical areas, Chapter 2 challenges this understanding of the format and the ways of production embedded in it. Chapter 3 presents a series of alternative curatorial approaches coming from the South and related to the four theoretical pillars of the self-reflexive approach: geography, time, process and epistemology. Starting with the methods used to investigate the case studies, the chapter traces connections between theory and practice. The chapter moves through close readings of the alternative case studies and comparative analysis, to the use of self- reflexive practice. Chapter 4 is at the heart of the thesis: it presents the methodologies underpinning both the approach to case study analysis and the practical research. This involves the curatorial proposal put forward and practised through Vessel. Vessel is therefore presented, in Chapter 4, as a self-reflexive model of located curatorial practice that is appropriate for located curatorial engagement. The conclusion addresses the capacity of curatorial practices to cultivate local epistemologies. I propose the outcome of the Vessel research project, and associated case studies as a set of curatorial methods and considerations for a 'located' model of curatorial practice.
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Eliphas, Hatutale John. "Barriers to adherence to antiretroviral treatment among adolescents in Onandjokwe district, Namibia." University of the Western Cape, 2017. http://hdl.handle.net/11394/5486.
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Master of Public Health - MPHPoor adherence to antiretroviral therapy (ART) among paediatric and adolescent patients remains a big concern to health workers at Onandjokwe CDC clinic in Oshikoto Region of Namibia. Despite successes in the scale up of ART in Oshikoto Region the clinic experienced high prevalence of poor adherence to ART among adolescent patients. Out of 631 adolescents alive and on ART in this clinic, 154 (24%) had records of poor drug adherence between Jan 2015 and August 2015; which compared poorly to only 4 % of 7289 adults currently on ART who have records of poor adherence during the same period. The aim of the current study was to explore barriers to adherence to antiretroviral therapy among these adolescents. Among the study population of 631 adolescents on ART in Onandjokwe, a sample population of 154 had records of poor adherence (scored below 85%) to ART between June 2015 and August of the same year were considered for the study but among them 16 adolescents were recruited as the study sample. Additionally, 5 caregivers of adolescents on ART, 6 Healthcare Providers were selected as key informants. A voice recorder and field notes were being used during data collection. Two 2 sessions of Focus Group Discussions (FGD) were held with adolescents while 2 FGD sessions held with 5 caregivers and 6 healthcare providers to elicit expert opinions. Lastly, 5 In-depth interviews were conducted with individual adolescents who missed ART medicine follow up for 1 month or more between January and August of 2015. Data Analysis was performed using hand manipulation by grouping responses into main study objectives/themes. Data cleaning, translation of voice transcription from Oshiwambo to English language and incorporating of non-verbal expressions was also done. The results indicate that factors contributing to poor ART adherence among adolescents are patient and family related, socio-economic, and related to substance abuse, stigma and discrimination, health care and health systems, as well as the environment and weather.
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Elimam, Dena. "Political, Economic, Social, and Health-related Correlates of HIV/AIDS Prevalence in the Eastern Mediterranean Region of WHO." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/iph_theses/52.
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HIV/AIDS remains one of the most challenging public health problems, especially as the number of people living with the disease increased to over 33 million in 2007 while deaths increased to 2.0 million. The progression of HIV/AIDS is often linked to multiple levels of influence such as individual, political, economic, health and social factors. There is little known about the influence of some of these factors on the prevalence of HIV/AIDS in the countries of the Eastern Mediterranean Region (EMR) of the World Health Organization. Using data from EMR countries, this study analyzed the progression of HIV/AIDS from 2003 to 2005, and examined the correlation between a number of political, economic, social, and health-related indicators with three HIV/AIDS outcome measures (HIV/AIDS estimated rates, HIV/AIDS death rates, and antiretroviral therapy coverage rates) for the year 2005. Bivariate correlation analyses showed several political, economic, social, and health-related variables to be significantly associated with antiretroviral therapy coverage rates. Immunization rate was the only variable significantly associated with the estimated HIV/AIDS rates; while no significant associations were identified with the HIV/AIDS death rates. The results of this study suggest that progression of the disease and treatment accessibility may be influenced by the political, economic, social, and health situations in EMR countries.
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Rae, Heather. "Encountering the monstrous masculine : an exploration of monstrous bodies, behaviour and subjectivity in Greek and Roman literature and art." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4222/.
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This study develops the interpretation of hybrid and human-esque male monsters by examining ambiguous presentations of these figures in Greek and Roman literature and art, putting a fresh perspective on the hero/monster encounter and showing that monsters are developed characters rather than simple heroic attributes, as they are frequently interpreted in modern scholarship. Additional strands running through the thesis are consideration of the hero’s ambiguity through visual similarity to monsters and through shared characteristics; the relationship between monstrous body and monstrous behaviour; the subjectivity of monsters; how masculinity relates to monstrosity; and how monsters operate within the Other/self discourse as ways of exploring human behaviour and relationships in the two monster tale types of heroic encounter and love story. As well as looking at how media and genre affect characterisation, where relevant, the political and social contexts of Greece and Rome will form a background to considering how monsters are presented. This thesis explores the full range of the male monster’s ambiguity (humanised through gestures, clothing, or body; placed into a social context by humanising, or by relationships with humans; given subjectivity) and monstrosity (they explore excessive human behaviour and masculinity), and how the monster is a character in its own right.
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Monney, Julien. "Les miroirs imparfaits : une approche anthropologique de l’art rupestre." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100013.
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De toutes les questions qui agitèrent et agiteront encore pour longtemps le champ de la recherche en art rupestre, la plus fondamentale est sans doute celle de son sens ou, plus exactement, de la production de son sens. Comment, d’une manière générale, rendre compte de l’existence d’images rupestres sur les parois de certaines grottes d’Europe occidentale, mais aussi comment produire du sens quant aux conditions ayant prévalu à leur formation ? Partant des débats soulevés depuis près d’un siècle en archéologie préhistorique par l’usage de comptes-rendus ethnographiques afin d’interpréter l’art pariétal paléolithique européen, la thèse présentée ici ouvre sur une réflexion plus large quant à la nature des objets et des expériences qui sont employés en archéologie afin de rendre compte des événements du passé. Elle questionne ainsi : (a) la nature des comptes-rendus ethnographiques disponibles, dont un inventaire de 795 cas est présenté. Elle aborde aussi (b) les modes de construction des données archéologiques au travers de l’exemple des grottes ornées paléolithiques de la région Gard-Ardèche-Hérault. Elle interroge enfin (c) la place de la subjectivité dans le processus de création de connaissances sur le passé. A chaque fois, la nécessité d’un retour à l’individu est soulignée, que ce soit l’individu en tant que cas ethnographique (fruit d’une rencontre entre deux personnes), l’individu archéologique (l’entité rupestre) ou encore l’individu-chercheur en tant que sujet. Au travers d’une discussion quant au rapport au temps, à la notion de phénomène ou encore à l’altérité, cette thèse s’attache ainsi à analyser les implications d’une expression sur le passé et la créationAmong all the questions that have arisen in the field of rock art research, the most fundamental is probably the question of meaning, or more exactly the question of producing meaning. How to account for the existence of rock art on the walls of some caves of Western Europe, but also how to create meaning about the conditions in which those images were produced? Taking as a starting point the debates that have been going on for almost a century in prehistoric archaeology about the uses (and abuses) of ethnographic accounts to interpret European Palaeolithic cave art, this thesis opens up on a broader reflection on the nature of objects and experiences that are used in archaeology to account for past events. Thus, it questions (a) the nature of ethnographic data available, through a database of 795 ethnographic accounts linked with the production, the refection or the use of rock images worldwide. It also addresses (b) the ways of constructing archaeological data through the example of the palaeolithic rock art caves in the Gard-Ardèche-Hérault region (South-eastern France). Finally, it discusses (c) the role played by subjectivity in the process of creating knowledge about the past. Each time, the need for a return to the individual cases is emphasized: at an ethnographic level, the individuals consisting of first hand records resulting from the meeting between two different persons; at an archaeological level, single rock art images; and at a scientific level, the researcher himself. Through a discussion of the notions of time, phenomenon and alterity (otherness), this thesis attempts to analyze the implications of any expression dealing with the past and creation
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Chui, Wai-ngor, and 崔惠娥. "The design of a Chinese culture subject aiming at enhancing cultural awareness and the evaluation of itseffectiveness =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38787441.
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Garland, Emmanuel. "L'iconographie romane dans la region centrale des pyrenees (avec un inventaire de l'ensemble des richesses romanes du comminges, du couse rans, du pallars, et du ribagorza)." Toulouse 2, 1996. http://www.theses.fr/1996TOU20026.
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L'iconographie romane de la region centrale des pyrenees (comminges, couserans, pallars, ribagorza) presente-t-elle une certaine specificite liee a sa geographie montagneuse, a son independance economique et feodale aux onzieme et douzieme siecles, ou n'est-elle qu'un epigone de ses brillantes et puissantes regions avoisinantes (aragon, catalogne, gascogne, hautlanguedoc)? telle est la question qui est sous-jacente a l'etude presentee qui comprend : - un inventaire complet des richesses romanes de cette region (sept-cent cinquante vestiges et monuments repertories) et de son iconographie : - l'etude des principaux themes iconographiques (chrisme, majestae domini et mariae, adoration des mages, college apostolique, scenes de la vie du christ, scenes hagiographiques, tentation et redemption, themes vernaculaires, et remplois antiques) ; - l'expose du cadre geographique, du contexte historique, social, economique, religieux et artistique ; -l'analyse des parametres ayant influence les choix iconographiques ; - la recherche du sens et de la portee des images ; - l'analyse des influences recues ou exercees sur les regions avoisinantes. Une reponse nuancee, differente selon que l'on considere le debut, le milieu ou la fin de l'epoque romane, s'impose a l'issue de ce travail : autant la region centrale des pyrenees apparait comme novatrice, motrice vers l'an onze cents, tant en sculpture qu'en peinture murale, autant son role devient secondaire au fil du douzieme siecle, sauf dans quelques domaines marginaux. A cote d'oeuvres savantes s'epanouit, tardivement il est vrai, un art vernaculaire aux incontestables reminiscences paiennes. Au treizeme siecle, les sources creatrices sont taries. La region parait ignorer le courant, le souffle gothique. Finalement, la region centrale des pyrenees apparait comme une region typee, dont la creation artistique connut, pendant une tres courte periode de son histoire, un age d'or aussi interessant et important que brefHas romanesque iconography of the central part of the pyrenees (comminges, couserans, pallars and ribagorza) any specificty which could be related to its geographical mountainous situation, its economical and political independence during the eleventh and twelfth centuries? or is it just an epigone of its brilliant, wealthy and powerful neighbours (aragon, catalunya, gascony,toulouse)? this question is the underlain to the study presented, study which is made of : a thorough inventory of the romanesque remains and churches of this area (over seven hundred are listed) and of their iconography : a study of the main themes (chrismon, majestas domini and majestas mariae, college of apostles, scenes from the life of christ and from the life of saints, temptation and redemption, pagan local themes, antique stones reused) ; the presentation of the geographical, historical, social, religious and artistic context ; the search of the meaning and of the outcome of the images ; an analysis of the cross influences with the neighbouring regions. As a result, the answer to the initial question is balanced : the central part of the pyrenees innovates around eleven hundred, but it becomes subordinate as the twelfth century goes on, except in a few marginal cases. Aside skiful masterpieces, a local art with pagan reminiscences arises lately. And in the thirteenth century, all creative springs ran dry. The region ignored the gothic renewal. Finally, the central part of the pyrenees appears to be rather specific : romanesque iconography has known a golden age (during which a couple of very interesting, important paintings and sculptures were realised) but for a very short period of time
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Chui, Wai-ngor, and 崔惠娥. "An evaluation of the effectiveness of the new teaching methods and learning approaches for "history of Chinese culture andarts"." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31961575.
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Canak, Robert. "Hybrid Gulf — Excavating Future Identities." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3464.
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This Project examines the coexistence of two cultures?–?in this case the host Gulf, and the imported Western?–?and addresses certain problems that still need attention. This Project celebrates the creation of the third, hybrid, culture as a result of their intermingling. In this Research, Postcolonial Theory? and Transitional Object Theory? are used as conceptual frameworks, and are combined with Archaeology and Design as a practice. On a personal level, the Project evolved out of my cross-cultural origin and experiences. On an academic level, the Project serves as an experiment, trying to fill the gaps in the Gulf region’s search for identity. This Project utilized Design in two phases, initially during the research, and then as tool?/ language to mediate the issues found within the cross-cultural context. The Project explores and questions the ways in which artifacts/objects alter our perception, experience and memory. On an interdisciplinary level, this Project claims that Design?–?as a discipline –?is integrated in the process of curating memories through the creation of physical objects. Since objects have always been used as tools to dictate the narratives of our social memory, questions of power and control are essential – the current status of this region is a third culture, a hybrid product of Culture ‘A’ and Culture ‘B’. This project is interested in mechanisms that can be used to preserve this interesting phenomena often stigmatized as negative.
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Bianchi, Nicoletta. "ART RUPESTRE EN EUROPE OCCIDENTALE : CONTEXTE ARCHEOLOGIQUE ET CHRONOLOGIQUE DES GRAVURES PROTOHISTORIQUES DE LA REGION DU MONT BEGO. De la typologie des armes piquetées à l'étude des gravures schématiques-linéaires." Phd thesis, Université de Perpignan, 2013. http://tel.archives-ouvertes.fr/tel-00915928.
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Ce travail constitue une approche qualitative visant à mettre en évidence tous les indices archéologiques témoignant d'une présence humaine et d'une activité de gravure dans la région du mont Bego (Tende, Alpes-Maritimes, France) durant la préhistoire récente. L'étude typo-chronologique des gravures d'armes piquetées a fourni un intervalle chronologique débutant vers 3700 avant J.-C. et se poursuivant jusqu'à la fin de l'âge du Bronze. L'existence de matériel antérieur à cet intervalle contraint toutefois à admettre la possibilité que des motifs gravés, différents des armes, ont pu être réalisés aux débuts du Néolithique, imposant ainsi une lecture diachronique de l'ensemble piqueté de la région. La découverte de motifs dits "schématiques-linéaires" superposés par des gravures piquetées dément en outre l'hypothèse selon laquelle seules les gravures piquetées datent de la protohistoire. Une continuité dans l'activité de gravure de la région du mont Bego peut donc être envisagée, avec une coexistence des techniques incisée et piquetée jusqu'à la fin de l'âge du Bronze ancien. Pour les périodes ultérieures il est possible d'imaginer un abandon progressif de la tradition piquetée au profit d'un schématisme linéaire de plus en plus présent. Bien que l'inscription du mont Bego au sein de l'expression symbolique alpine demeure indéniable, cette étude a également permis de révéler l'importance des influences culturelles ibériques sur l'art protohistorique de la région, du macro-schématisme du Levant espagnol à l'art schématique-linéaire perdurant jusqu'à la fin de la protohistoire, en passant par la culture campaniforme au travers de son groupe espagnol Ciempozuelos.
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Strehmann, Jan. "Europäische Metropolregionen in der Wissensgesellschaft : strategische Stadt- und Regionalentwicklung in Wien, Berlin und London." Master's thesis, Universität Potsdam, 2008. http://opus.kobv.de/ubp/volltexte/2010/4462/.
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Die Wissensgesellschaft gilt spätestens seit der im Jahr 2000 durch die EU propagierten Lissabon-Strategie als Strategie der europäischen Städte und Regionen zu mehr Wachstum und Beschäftigung. Die Masterarbeit „Europäische Metropolregionen in der Wissensgesellschaft“ greift dieses Leitbild auf und untersucht anhand der Metropolregionen Wien, Berlin und London inwieweit sich das Thema Wissen in den strategischen Planungsdokumenten der Metropolregionen wieder findet. Die Untersuchung erfolgt anhand von entwickelten Handlungsfeldern einer wissensbasierten Entwicklung von Metropolregionen. Neben den Themen Hochqualifizierte Arbeitskräfte und Wissensinfrastrukturen spielt insbesondere die räumliche Nähe eine entscheidende Rolle für regionale Innovationssysteme. Durch Kompetenzfelder und Netzwerkstrukturen an bestimmten Wissensstandorten lassen sich durch regionale Wirtschaftsförderung Clusterungen stimulieren.
Anhand des Beispiels Wien wird vertiefend untersucht, ob sich die in den Strategiedokumenten (Strategieplan 2004, Stadtentwicklungsplan 2005, Wiener Strategie für Forschung, Technologie und Innovation 2007) beschlossenen Ziele auch durch Maßnahmen der Stadtentwicklung und Wirtschaftsförderung wieder finden. Darüber hinaus werden insbesondere die unterschiedlichen Governance-Ebenen der Metropolregion und ihr Beitrag zur Förderung der einzelnen Handlungsfelder analysiert.
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Barreto, Viviane Menna. "Mapa pictográfico da cultura ribeirinha da Amazônia paraense: tradição e mídias." Pontifícia Universidade Católica de São Paulo, 2005. https://tede2.pucsp.br/handle/handle/4808.
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Previous issue date: 2005-03-31Conselho Nacional de Desenvolvimento Científico e Tecnológico
This is a research within the universe of the Pictographic Cartographies and its itinerary is the cycle of folk festivals of the riparian caboclo (mestizo) population of the Amazon region in the Pará state. It intends to create a new set of images of the Amazon region and, through dissemination in the media, insert those sceneries into the rest of Brazil s imagery. There lies the differential of this dissertation: two routes converging to the same point, departing from the artist and researcher, and moving on indefinitely as a plastic representation constructed after an extended trip along the caboclos communities. The first theoretical topics of the dissertation derived from Jerusa Pires Ferreira s conceptual universe organized through the transcription of tape-recorded classes. We also based our analysis on Ana Maria de Morais Beluzzo s work on the Artistas-Viajantes (Artists-Travelers); on Darcy Ribeiro s and João de Jesus Paes Loureiro s universe on the caboclo culture and poetry; on Marlyse Meyer s books to understand the folk culture s anthropophagies; and on Bakhtin s inverted world theory to ponder on folk festivals masking. Then, we extended the festivals universe by taking them away from the localism and giving them a universal dimension under Paul Zunthor s studies. However, we did not think the theory as a static apparatus, but instead as enabling us to divert the look through our own pictorial work considered as the communication means between these two worlds. At this point, we discussed the possibility of creating and disseminating image networks through mediated artistic projects showing the minorities imagery. The corpus of the analysis deals with the changes in the festival sponsor s social roles, and gives instances of tradition updating processes through the Joaba carnival and the Boi de Máscaras (Masked Bull) in São Caetano de Odivelas. The conclusions show how the community involved in the festival creates an enchanted territory, and the artist-traveler, by mediating its voice, increases its reach
Esta pesquisa situa-se no universo das Cartografias Pictográficas e tem como carta de itinerário o ciclo de festas populares dos caboclos ribeirinhos da Amazônia Paraense.Tem como objetivo criar um novo conjunto de imagens sobre a Amazônia e, através da divulgação nos meios de comunicação, inserir estas paisagens no imaginário do resto do Brasil. Esse é o diferencial desta dissertação: são duas vias que confluem ao mesmo ponto, saem da artista e pesquisadora e vão seguindo infinitamente enquanto representação plástica construída através de uma grande viagem, pelas comunidades caboclas. O universo conceitual de Jerusa Pires Ferreira, organizado a partir da transcrição de aulas gravadas, criou os primeiros tópicos teóricos da dissertação. Utilizamos também a obra de Ana Maria de Morais Beluzzo sobre os Artistas-Viajantes; o universo de Darcy Ribeiro e João de Jesus Paes Loureiro sobre a cultura cabocla e suas poéticas; os livros de Marlyse Meyer para entender as antropofagias da cultura popular; e a teoria do mundo invertido de Bakhtin para refletir sobre os mascaramentos na festa popular. Então, ampliamos o universo do festeiro, retirando-o do localismo e redimensionando-o na universalidade a partir dos estudos de Paul Zumthor. Mas não pensamos teoricamente com aparelhos estáticos. Pensamos de modo que a teoria nos propiciasse a deslocação do olhar através da nossa própria obra pictórica, encarada como veículo de comunicação entre estes dois mundos. Nesse campo, discutimos a possibilidade de criação e difusão de redes imagéticas através de projetos artísticos midiatizados que mostram o imaginário das minorias. O corpus de análise adotado trata das mudanças dos papéis sociais do festeiro e exemplifica processos de atualizações de uma tradição, através do carnaval de Joaba em Cametá e do Boi de Máscaras de São Caetano de Odivelas. As conclusões alcançadas mostram como a comunidade festeira cria um território encantado e como a artista-viajante, midiatizando esta voz, amplia seu alcance
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Roby, Ruth. "Imprint of a landscape a Yarrawa Brush story /." Access electronically, 2007. http://ro.uow.edu.au/theses/15.
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Anikiejeva-Stanaitienė, Oksana. "Zanavykų krašto buvusių dvaro sodybų kultūrinė vertė ir panauda." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140612_140024-10308.
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Zanavykų kraštas - tai Šakių rajono regionas, Marijampolės apskrities vakarinė dalis. Zanavykų etninė grupė formavosi asimiluojant vietinei etninei grupei su Maţosios Lietuvos (Prūsijos) atvykėliais, ţemaičių naujakuriais ir kitomis šiose teritorijose, atsikėlusiomis etninėmis grupėmis. Todėl šiame regione susiformavo skirtingi, tik tam kraštui būdingi, ūkininkavimo būdai, statybos maniera – stilistika, kalbos dialektas, tradicijos bei kultūra. Zanavykų kraštas turi savo istorine – memorialine verte reikšmingų buvusių dvaro sodybų. Jų istorinė - memorialinė vertė yra vertybių pobūdţiu svarbi, lemianti reikšmingumą. Zanavykų krašte, svarbiausiomis buvusios dvaro sodybos yra laikomos keturios: Gelgaudiškio, Zyplių, Kidulių ir Ilguvos. Buvusios dvaro sodybos įamţina garsių giminių, tokių kaip Sapiegų, Tiškevičių, Koidelių, Komarų, Talko–Grincevičių-Ilgauskų, ir dar daugelį kitų, atminimą.Zanavykas region - this region Šakiai district, western part of the county Marijampoles. The Zanavykai ethnic group formed perrimant local ethnic group in Lithuania Minor (Prussia) newcomers Samogitians settlers and other areas in the coming sociocultural ethnic groups. Therefore, in this region have resulted in different, specific only to land, farming methods, building style - the style, language, dialect, traditions and culture. The Zanavykai region has its own historical - memorial of significant value in the former manor house. Their historical - the memorials value is an important character values, determining significance. The Zanavykai have the most important of the former manor are held four: Gelgaudiskis, Zypliai, Kiduliai and Ilguva. Former manor perpetuates prominent families such as Sapieha, Tiskevicius, Koidelis, Komar, Talka-Grinceviciai-Ilgauskas, and many other victims.
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Castro, Carla Adriana Machado de. "A LEI 11.769/08 E O ENSINO DE ARTE NA REGIÃO DAS MISSÕES/RS: REALIDADES E DESAFIOS." Universidade Federal de Santa Maria, 2014. http://repositorio.ufsm.br/handle/1/7168.
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This work was developed in the Master course in the Graduate Program in Education at the Federal University of Santa Maria (PPGE / UFSM) on Line Research Education and Arts (LP4) Education, and is linked to the group formation studies, action and Research in Music Education (FAPEM). The overall objective was to investigate the implications of inserting content Music in Elementary Education from the implementation of Law 11.769/08, in view of Art teachers in the Region of Missions, belonging to 14th CRE. Specifically we sought to identify the profile of the professionals who work with content Art / Music in the region of Missions Public Schools Basic Education; know how / if the Law 11.769/08 is being implemented in the region of these Missions Public Schools and see which moments happen and that the work of Art / Music in the Public Schools of the 14th CRE. The methodological approach involved quantitative and qualitative data, with mixed methods research. The instrument of production data was self-administered questionnaire with closed and open questions. In the first chapter mentions the educational Legislation and teaching art in school, teaching Art and Music in Elementary Education on the Law 11.769/08 and we present research that tematizaram Music in Elementary Education. The second chapter focuses on is the production of data and the analysis procedure of the data produced. The third presents the research results related to the 13 teachers who participated in the survey, of which 7 have training in the area of Arts and 6 have degrees in other fields. Among the 9 teachers had some kind of musical training, but consider themselves unprepared to work with music in the classroom. Although approved six years ago, Law 11.769/08 has not altered the situation of teaching music in the public schools of the Region of Missions: their use remains sporadic oriented activities, without systematic teaching of music in schools.Esta dissertação foi desenvolvida no curso de Mestrado em Educação do Programa de Pós-Graduação em Educação da Universidade Federal de Santa Maria (PPGE/UFSM), na Linha de Pesquisa Educação e Artes (LP4), e está vinculada ao grupo de estudos Formação, Ação e Pesquisa em Educação Musical (FAPEM). O objetivo geral foi investigar as implicações da inserção do conteúdo de Música na Educação Básica, a partir da implementação da Lei 11.769/08, na visão dos professores de Arte na Região das Missões, pertencentes a 14ª CRE. Especificamente procurou-se identificar o perfil dos profissionais que trabalham com conteúdo de Arte/Música nas Escolas Públicas de Educação Básica da região das Missões; conhecer como/se a Lei 11.769/08 está sendo implementada nessas Escolas Públicas da região das Missões e verificar quais e em que momentos acontecem os trabalhos de Arte/Música nas Escolas Públicas da 14ª CRE. A abordagem metodológica envolveu informações quantitativas e qualitativas, com métodos mistos de investigação. O instrumento de produção das informações foi o questionário auto administrado, com questões fechadas e abertas. No primeiro capítulo são referidas as Legislações educacionais e o ensino de Arte na escola, o ensino de Arte e Música na Educação Básica, sobre a Lei 11.769/08 e apresentam-se pesquisas que tematizaram a Música na Educação Básica. No segundo capítulo enfoca-se a produção das informações e o procedimento de análise das mesmas. No terceiro apresentam-se os resultados da investigação referentes aos 13 professores que participaram da pesquisa, dos quais 7 possuem formação na área de Artes e 6 possuem formação em outras áreas. Entre os professores 9 tiveram algum tipo de formação musical, mas consideram-se despreparados para trabalhar com Música na sala de aula. Embora homologada há seis anos, a Lei 11.769/08 ainda não alterou a situação do ensino de Música nas escolas Públicas Estaduais da Região das Missões: seu uso continua voltado a atividades esporádicas, sem que haja sistematização no ensino de Música nas escolas.
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Rodrigues, Adriana. "A produção científica sobre didática na região centro-oeste: um estado da arte a partir de três programas de pós-graduação (2004-2010)." Universidade Federal de Uberlândia, 2015. https://repositorio.ufu.br/handle/123456789/13700.
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This doctoral research is linked to the line of Knowledge Research and Educational Practices, the Master\'s and Doctorate Programs in Education at the University of Uberlândia - UFU. Considering the needs presented in the Brazilian educational context, with regard to learning disabilities and scientific production of didactic, as the area responsible for the theoretical basis of educational practices at school, this research was first purpose, seizure of that scientific production. Was elected as an object of study that produced didactic knowledge, embodied in Articles prepared by teachers of the lines of research, the Graduate Program in Education located in the Midwest Region, from 2004 to 2010. This research is justified considering the contributions that a body of knowledge, inferred of the subject matter, can bring to think the educational practice, the constitution of teaching with regard to their investigative field, signal trends, objects being neglected and theoretical foundations that support these productions, which are important to the overall understanding of didactic knowledge produced in the academy and how it can support interventions in school practices. It aimed to unveil the conceptions and the knowledge produced on Teaching in Brazilian graduate, to what extent these views allow or not the teaching-learning relationship that promotes development. The specific guiding objectives were outlined to map scientific production of teaching, understand the constitution of this in teaching and research, analyze and discuss the theoretical and methodological aspects that sustain the knowledge produced, as well as highlight the contributions of the teaching thinking is guided Theory of Developmental Education. To this end, there was a state of the art using as theoretical foundation, the historical materialist method dialectical and theoretical and operational principles of developmental teaching. It was found as the most significant trends that scientific didactics production has prioritized as an object of study, training and professionalization of teachers for performance in higher education, focusing more on the teaching-learning area, the size of the grounds, to the detriment modes and conditions in which teaching is performed. The results indicate the need for education organization intends to provide the student\'s development in the context of the classroom taking into account the formation of theoretical thinking and social and cultural practices, which are embedded in the school routine. Evaluation as a teaching resource that contributes to the quality of teacher education, taking into account that, beyond the realm of academic content, you need to consider creativity, affection, subjectivity, emotional and motivations. How overlooked aspects were identified little expression studies with an interest in early childhood education, primary and secondary education, with total absence of studies on adult education, as well as the relationships that are established in the school\'s organizational structure, materials textbooks used in the special needs presented by students. With regard to the privileged location are few studies that direct their attention to the classroom, to the organization\'s context of school or various locations.Esta pesquisa de doutoramento vincula-se à linha de pesquisa Saberes e Práticas Educativas, dos Programas de Mestrado e Doutorado em Educação da Universidade de Uberlândia UFU. Considerando as necessidades apresentadas no contexto educacional brasileiro, no que se refere às deficiências de aprendizagens e à produção científica da didática, como área responsável pelo substrato teórico das práticas educativas na escola, essa pesquisa teve como propósito primeiro, a apreensão dessa produção científica. Elegeu-se como objeto de estudo o conhecimento didático produzido, materializado nos artigos elaborados pelos professores das linhas de pesquisas, dos Programas de Pós-graduação em Educação localizados na Região Centro-Oeste, no período de 2004 a 2010. Essa pesquisa se justifica considerando as contribuições que um conjunto de conhecimentos, depreendido do objeto de estudo, pode trazer para pensar a prática educativa, a constituição da didática no que se refere ao seu campo investigativo, sinalizar tendências, objetos que estão sendo negligenciados e fundamentações teóricas que embasam essas produções, as quais são importantes para a compreensão geral do conhecimento didático produzido na academia e como este pode subsidiar as intervenções nas práticas escolares. Objetivou-se desvelar as concepções e os conhecimentos produzidos sobre Didática na pós-graduação brasileira, em que medida essas concepções possibilitam ou não a relação ensino-aprendizagem que promove o desenvolvimento. Os objetivos norteadores específicos foram delineados para mapear a produção científica da didática, compreender a constituição dessa no âmbito do ensino e da pesquisa, analisar e discutir os aspectos teórico-metodológicos que sustentam o conhecimento produzido, assim como, evidenciar as contribuições do pensamento didático pautado na Teoria do Ensino Desenvolvimental. Para tanto, realizou-se um estado da arte utilizando, como fundamento teórico, o método materialista histórico dialético e os princípios teóricos e operacionais da didática desenvolvimental. Constatou-se como tendências mais expressivas que a produção científica da didática tem priorizado, como objeto de estudos, a formação e a profissionalização de professores para atuação no ensino superior, enfocando mais a área de ensino-aprendizagem, na dimensão dos fundamentos, em detrimento dos modos e condições nos quais o ensino é realizado. Os resultados indicam a necessidade da organização do ensino tencionando proporcionar o desenvolvimento do aluno no contexto da sala de aula levando em consideração a formação do pensamento teórico e as práticas sociais e culturais, as quais estão imbricadas no cotidiano da escola. A avaliação como recurso didático que contribui para a qualidade da formação do professor, levando em conta que, além do domínio do conteúdo escolar, é preciso considerar a criatividade, a afetividade, a subjetividade, o emocional e as motivações. Como aspectos negligenciados foram identificados pouca expressividade de estudos que têm interesses na educação infantil, ensino fundamental e médio, com ausência total de estudos sobre a educação de jovens e adultos, assim como, nas relações que se estabelecem na estrutura organizacional da escola, nos materiais didáticos utilizados, nas necessidades especiais apresentadas pelos alunos. No que se refere ao local privilegiado são poucas pesquisas que direcionam suas atenções para a sala de aula, para o contexto da organização da escola ou locais diversos.
Doutor em Educação
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Henrion-Dourcy, Isabelle. "Ache Lhamo : Jeux et enjeux d'une tradition théâtrale tibétaine." Doctoral thesis, Universite Libre de Bruxelles, 2004. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211111.
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L'objet de cette thèse est une monographie du théâtre traditionnel tibétain, ou ache lhamo, souvent appelé lhamo tout court, tel qu'il était joué à l'époque pré-moderne (antérieure à 1950) et tel qu'il est encore joué actuellement en Région Autonome du Tibet (République Populaire de Chine) et dans la diaspora tibétaine établie en Inde et au Népal. Comme la plupart des théâtres d'Asie, il est un genre composite :à la fois drame à thématique religieuse (issue du bouddhisme mahāyāna), satire mimée, et farce paysanne, il comprend de la récitation sur un mode parlé, du chant, des percussions, de la danse et des bouffonneries improvisées, ainsi qu'un usage de masques et de costumes flamboyants, qui tranchent avec la sobriété absolue des décors (la scène est vide) et de la mise en scène. Bien qu’il ait été encouragé et financé par le gouvernement des Dalai Lama, de grands monastères et des familles aristocratiques, c’est un théâtre avant tout populaire, et non pas réservé à une élite lettrée. Cette étude a circonscrit à la fois le contenu, le rôle social, le langage artistique et les implications politiques du théâtre dans la civilisation tibétaine.La méthodologie a été composée en combinant les apports et réflexions critiques de trois disciplines :l'ethnologie, la tibétologie et les études théâtrales. L'approche est fondamentalement ethnologique, en ce que la production des données repose sur une immersion de plus de deux ans parmi des acteurs de théâtre de la Région Autonome du Tibet (1996-1998) et de près d'un an parmi ceux de la diaspora d'Asie du Sud (1998-2000). Elle l’est aussi en ce que l’intention a été de constituer une intelligibilité englobante pour l'ache lhamo, c'est-à-dire de mettre au jour l'intrication des dimensions culturelle, sociale, politique, économique, rituelle et symbolique de la pratique théâtrale. L’une des contributions principales du travail est d’étoffer l’ethnologie régionale du Tibet central, mais ses conclusions et son esprit critique le placent également dans la liste déjà importante des travaux consacrés à l'invention des traditions. La tibétologie a fourni le cadre interprétatif fondamental des données recueillies. Une importance très grande a été accordée à l'histoire du pays ainsi qu'à la philologie et aux terminologies vernaculaires particulières au théâtre. L’étude s’inscrit dans l’un des courants novateurs de la tibétologie, privilégiant les aspects non plus religieux et politiques de cette civilisation, mais sa partie « populaire » et anthropologique, mettant au premier plan l’analyse des pratiques et non celle des doctrines. Des sources écrites (textes pré-modernes et sources secondaires de folkloristes tibétains et chinois) ont été intégrées aux observations. En ce qui concerne la troisième approche méthodologique, cette étude ne s'inscrit ni dans le courant des « performance studies » de Richard Schechner, ni dans l'anthropologie théâtrale d’Eugenio Barba, ni dans l'ethnoscénologie telle qu'elle est défendue par Jean-Marie Pradier, mais plutôt dans l'anthropologie du théâtre, au sens d'étude interprétative et multidimensionnelle, utilisant les référents établis de l'anthropologie et les savoirs indigènes pour décrire une expression culturelle déterminée et reconnue comme un genre à part entière, le théâtre.
Les résultats sont présentés en trois parties, qui peuvent être résumées de manière lapidaire par trois adjectifs :culturelle, sociologique, artistique. La première partie, intitulée "Le cadre culturel du lhamo avant 1959", est consacrée au contexte (historique, religieux et littéraire) dans lequel le théâtre est inscrit, ainsi qu’aux textes (leur contenu, leurs modalités de composition et de transmission) qui révèlent l'imaginaire propre du théâtre. La deuxième partie est une analyse de "L'ancrage sociologique du lhamo". Les conditions matérielles des représentations y sont examinées :les divers types de troupes, leur organisation interne, le statut social des acteurs, l'inscription de la pratique du théâtre dans le système socio-économique pré-moderne, et les rapports d'obligations tissés entre acteurs et seigneurs, ainsi qu'entre acteurs et commanditaires des représentations. La dernière partie, "Art et savoirs des acteurs", jette un éclairage sur la matière vive du lhamo. Elle rend compte des conceptions, valeurs, plaisirs et difficultés de ceux qui pratiquent cette forme d'art. Les divers registres de leur discipline sont analysés en détail :costumes, masques, gestuelle, chant, accompagnement musical (percussions) et sentiments exprimés. L'appréciation qui en est faite par le public est aussi consignée. Au cœur de cette partie se trouve une réflexion sur la nature rituelle et non rituelle du lhamo, et sur les liens éventuels de ce dernier avec d'autres activités religieuses, telles la possession. Les dernières pages de la thèse constituent un épilogue, qui fait le point sur la situation contemporaine, donc les implications politiques, du théâtre des deux côtés de l'Himalaya.
L'image anthropologique du lhamo qui a pu être dégagée de ces trois volets d'analyse le fait apparaître comme essentiellement ambivalent :le lhamo est un théâtre de paradoxes. À l'image de la civilisation tibétaine, il est composite et cohérent à la fois. Sa cohérence réside dans son ambivalence :il traverse et relie des aspects contrastés de la culture. Il introduit du jeu entre les polarités que Tibétains et tibétologues établissent parfois un peu trop à la hâte entre culture savante et culture populaire, écriture et oralité, éléments exogènes et apports autochtones, bouddhisme et cultes qui ont précédé son implantation, aspiration religieuse et intérêts mondains, spécialistes rituels et bénéficiaires qui les rémunèrent. Combinant fonction pédagogique et fonction rituelle, sacré compassé du texte et irrévérence grivoise des improvisations, le lhamo correspond aussi très bien à la manière dont les théâtrologues appréhendent le théâtre :comme un objet curieux, créé par les hommes et qui pourtant ne cesse de les intriguer, comme s'il était venu d'ailleurs.
Doctorat en Sciences politiques et sociales
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Lee, Eun-Su. "On defining Buddhist art in Bengal : the Dhaka region." 2011. http://hdl.handle.net/2152/15025.
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This dissertation addresses the significance of regional developments in Indian art by focusing on the Buddhist art tradition of the Dhaka region in East Bengal from approximately the seventh to twelfth century CE. The Buddhist images and sites examined in this dissertation formed a part of a greater corpus of Buddhist art usually defined as ‘Eastern Indian art of the early medieval period or the PAlA-Sena period’. Art historians have concentrated on explaining common factors that determine Buddhist art of this region, because this is where the last stage of Indian Buddhism flourished, and thus its art has been considered as a product of the same stage of Buddhism as well as the same dynastic patronage. My study of Buddhist art from the Dhaka area is proposed as a first step toward a characterization of the different local traditions in eastern India, particularly, in Bengal, which has been neglected in the study of Buddhist art. The present study divides the Buddhist images from the Dhaka region into two groups according to their size. The size of the images helps one to place them in either a public or a private context. On the basis of surviving sculptures, most of the central Buddhist worship objects from the Dhaka region portray multi-headed and -armed deities that personify transcendent wisdom. Private worship objects also often portray these deities. The presence of large images of unique wisdom goddesses in the Dhaka region, who were never portrayed or only portrayed in a small size in other regions, suggests that the Buddhist practice in the Dhaka region was closely engaged in the assimilation of various goddess cults. The present study challenges the traditional distinction between iconography and style. By discussing individual components of the images as a whole, this dissertation also seeks to identify the major characteristics of Buddhist art from the Dhaka region.text
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Lewis, Darrell. "'They meet up at Bilinara' : rock art in the Victoria River valley." Master's thesis, 1990. http://hdl.handle.net/1885/116993.
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The past few years has seen the emergence of a critical assessment of the relationship between the ethnographer and the society being studied (for example see Agar 1984; Marcus and Fisher 1986). One result has been the recognition that '..ethnographies are a function of the different traditions of ethnographer, group, and intended audience" (Agar 1984: 783). I believe it appropriate to include here a summary of the traditions, influences and chance events that led me to ethno-archaeology and shaped the methodology I used.
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Kaligotla, Subhashini. "Shiva's Waterfront Temples: Reimagining the Sacred Architecture of India's Deccan Region." Thesis, 2015. https://doi.org/10.7916/D8GB23KF.
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This dissertation examines Deccan India’s earliest surviving stone constructions, which were founded during the 6th through the 8th centuries CE and are known for their unparalleled formal eclecticism. Whereas past scholarship explains their heterogeneous formal character as an organic outcome of the Deccan’s “borderland” location between north India and south India, my study challenges the very conceptualization of the Deccan temple within a binary taxonomy that recognizes only northern and southern temple types. Rejecting the passivity implied by the borderland metaphor, I emphasize the role of human agents—particularly architects and makers—in establishing a dialectic between the north Indian and the south Indian architectural systems in the Deccan’s built worlds and built spaces. Secondly, by adopting the Deccan temple cluster as an analytical category in its own right, the present work contributes to the still developing field of landscape studies of the premodern Deccan. I read traditional art-historical evidence—the built environment, sculpture, and stone and copperplate inscriptions—alongside discursive treatments of landscape cultures and phenomenological and experiential perspectives. As a result, I am able to present hitherto unexamined aspects of the cluster’s spatial arrangement: the interrelationships between structures and the ways those relationships influence ritual and processional movements, as well as the symbolic, locative, and organizing role played by water bodies. The project therefore reimagines the Deccan’s sacred centers not as conglomerations of disjointed monuments but as integrated environments in which built structures interact with, and engage, natural elements, and vice versa.
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Hsieh, Yi-Ching, and 謝宜靜. "The Modern Transformation of art exhibitions and criticism in Republican china:western painting in Shanghai region." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/82738580015741348887.
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碩士國立中央大學
藝術學研究所
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This thesis aims to discuss the establishment process of the “Art,” which took the Western world as its structural references, in the framework of the art exhibitions and criticism that took place in the Shanghai region in the early 1920’s. The 1920’s were a stage where the Western paintings began its fervent activities in China. The Western paintings at this time were no longer focusing on the functional techniques as they used to be. The aesthetics of art were becoming more and more important by the day. In the 1920’s art exhibitions and criticism were the focus of the development of Western paintings, other than the intent to bring art into society with the display of artistic objects to the public. The public display of art helped bring up wide discussions of artistic issues in the society, and it was under this kind of environment that the artistic vitality and the social influences were at their most active.
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Aylen, Marielle. "Modern vision and national memory : Jori Smith, the Montréal avant-garde, and Charlevoix painters /." 2008. 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:NR51669.
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Thesis (Ph.D.)--York University, 2008. Graduate programme in Women's Studies.Typescript. Includes bibliographical references (leaves 400-444). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: 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:NR51669
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Pinto, Lourenco Casamiro. "A site-specific approach to interpreting rock art and interaction in the southern region of the Eastern Cape Province, South Africa : the case of Xoro Gwai rock shelter." Thesis, 2012. http://hdl.handle.net/10539/10984.
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MSc., Faculty of Science, University of Witwatersrand, 2011Studies of San rock art in southern Africa have appealed to researchers for specificities of individual rock art sites in order to counter the prevailing practice of conceptualising San rock art as a homogenous entity. This research attempts to analyse social interaction through looking at diverse ethnographies and how such ethnographies can reveal information regarding one rock art site. Individual rock art sites like Xoro Gwai can start to unravel the nuanced, diverse and complex nature of San religious beliefs and rites and how these beliefs were affected or influenced by social contact with other social formations.
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Sofková, Klára. "Tvorba německého výtvarníka Fritze Gärtnera a jeho vliv na severočeský region." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-345437.
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(in English): This thesis seeks to examine the state of the fine art in North Bohemia region at the turn of the 20th century. The period is dominated by romantic and realistic landscape art, which was also the domain of Fritz Gärtner. The thesis furthermore illuminates the life of German artists before and after the World War I in this region. The work focuses on Metznerbund group as it is considered the major movement among the German artists within the given period. Following chapters aim to illuminate the state of the fine art in North Bohemia region after the Second World War.The practical part of the thesis examines the life and work of a Sudeten German painter Fritz Gärtner: his early work from his hometown Ústí nad Labem, his studies at the Academy of Fine Arts in Munich and his first considerable exhibition named Arbeit (Labor). The research provides us with new findings that complement previous findings from my bachelor's thesis, which was focused on interpretation of selected Gärtners paintings, resulting in a complete monography of the Sudeten German painter. The research was based on secondary literature concerning the fine art in North Bohemia region and provides a broad scale of new facts about the artistic creation and life of painters within fine art associations in the 20th century.
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邱慧娟. "A study on the Implementation Status of Mulitple Assessments Adopted by Elementary School Visual Art Education Teachers in Taichung Region." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/49901780654283304255.
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碩士國立新竹教育大學
人資處美勞教學碩士班
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Grade 1-9 Curriculum Guidelines (2008) suggests that Arts and Humanities teachers implement assessments based on competency indicators and teaching content and adopt multiple assessments accompanied with formative and summative assessments in order to present learners’ multiple learning performance. This study aimed at investigating the implementation methods of multiple assessment visual art education teachers adopted in Taichung region, their understandings and viewpoints of multiple assessments, and the difficulties they encountered in its implementation. The study further contrasted the differences in the beliefs of multiple assessments and their implementation methods adopted by teachers with different background variables and provided schools and teachers with references for improvement of visual art education after analyzing and investigating data. The subjects of this study were visual art education teachers in elementary schools in Taichung region. The instrument was a questionnaire, called “The implementation status of multiple assessments visual art education teachers adopted in Taichung region”. The samples were 422 visual art education teachers and the valid recollection rate of the questionnaires is 83% (349 copies). Data were analyzed by using statistic methods including descriptive statistics, independent sample t-test and one-way ANOVA analysis. The major findings of the study were as follows: First, visual art education teachers recognized the beliefs of multiple assessments for visual art education. They clearly understood the meanings of multiple assessments and showed their recognitions and supports toward the viewpoints of multiple assessments. Secondly, there were differences among visual art education teachers who majored in different disciplines. It showed that teachers with professional art knowledge had better beliefs and understandings in multiple assessments for visual art education. Third, the implementation methods of multiple assessments visual art education teachers adopted as follows: First, staffs who implemented assessments were multiple. Second, the rating standards which they assessed the products were multiple. Third, the ways of presentation which they assessed the products were multiple. Fourth, the timing and purposes which they implemented assessments were multiple. Fifth, the scope and content which they implemented assessments were multiple. Lastly, the multiplicity in the ways of assessments which they implemented was common. Teachers were inclined to adopt 4 ways of assessments including classroom observation, work assessment, oral assessment and rating scale of performance. The implementations of others ways were unusual. Fourth, there were differences in the implementation methods of multiple assessments among visual art education teachers with different education background, disciplines, positions, and teachers taking multiple assessments related courses and teachers in the scale of schools. Fifth, the disturbing level that visual art education teachers adopting multiple assessments encountered was common although there is disturbance but it is not severe. The main disturbing factors for the dimension, curriculum and teachers’ burden, included that the classes were too many, assessments occupied too much teaching time, scoring of multiple assessments was inconvenient, and teachers’ burdens were increased. According to the research results, this study provided some suggestions for schools, visual art education teachers, and future researchers. Keywords: visual art education teachers in elementary schools, multiple assessments for visual art education
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Yeh, Yu-Luen, and 葉育綸. "A Study on the Status and Needs of Primary School Visual Art Teachers’ Professional Development in Taoyuan, Hsinchu, Miaoli Region." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/vjjeut.
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McGowan, Dianne. "Consuming the devil's idols : (re)presenting Tibetan art in the United States." Phd thesis, 2010. http://hdl.handle.net/1885/150595.
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This dissertation examines the transformation of Tibetan artefacts into fine art. I seek to understand how this transformation originated, why and when it occurred and, most significantly, the value creation processes associated with maintaining artworlds. My original contribution is the analysis of the history of Tibetan art's reception in the west. In essence, I investigate the western commodification of Tibetan art during the twentieth century. The focus of this study is the central locus for this phenomenon, the United States, specifically New York City. Beginning with the premise that the concept of Tibetan art as a fine art is a western construct, I trace the (re)presentation of Tibet and Tibetan culture within the western artworld. The exhibition of Tibetan art by the prestigious New York Asia Society in 1969 exemplified the worthiness of Tibetan artefacts as art and began an 'informational' cascade phenomenon. I argue that the institutionalization of Tibetan art discourse at this exhibition, acknowledged the transforming process. Through observations and critical analysis of primary and secondary material, this dissertation investigates the transformation of Tibetan artefacts into art by means of the value creation processes of art exhibition catalogues and associated New York Asia Week activities - the art auctions and fairs. This analysis found that the recent emphasis on the aestheticization of Tibetan art has generated a burgeoning private demand for museum-quality masterpieces, resulting in anomalies in collecting and exhibiting practices. For instance, the alleged practice of overpainting highlights the over emphasis on aesthetic appreciation, while bringing into question the interrelationship of authority and authenticity. At the same time, the narrative of lost Tibetan culture obscures questions of representation, consuming and ownership.
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Kotze, Steven. "Gender, power and iron metallurgy in archives of African societies from the Phongolo-Mzimkhulu region." Thesis, 2018. https://hdl.handle.net/10539/27048.
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A thesis submitted to the Faculty of Humanities, University of Witwatersrand, Johannesburg, in fulfilment of the requirements of Master of Arts, Durban 2018This dissertation examines the social, cultural and economic significance of locally forged field-hoes, known as amageja in Zulu. A key question I have engaged in this study is whether gender-based divisions of labour in nineteenth-century African communities of this region, which largely consigned agricultural work to women, also affect attitudes towards the tools they used. I argue that examples of field-hoes held in eight museum collections form an important but neglected archive of “hoeculture”, the form of subsistence crop cultivation based on the use of manual implements, within the Phongolo-Mzimkhulu geographic region that roughly approximates to the modern territory of KwaZulu-Natal. In response to observations made by Maggs (1991), namely that a disparity exists in the numbers of fieldhoes collected by museums in comparison with weapons, I conducted research to establish the present numbers of amageja in these museums, relative to spears in the respective collections. The dissertation assesses the historical context that these metallurgical artefacts were produced in prior to the twentieth-century and documents views on iron production, spears and hoes or agriculture recorded in oral testimony from African sources, as well as Zulu-language idioms that make reference to hoes. I furthermore examine the collecting habits and policies of private individuals and museums in this region from the nineteenthcentury onwards, and the manner in which hoes are used in displays, in order to provide recommendations on how this under-utilised category of material culture should be incorporated into future exhibitions.
XL2019
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Reser, Raymond Patrick. "Trade, change and dangerous places : archaeologic investigations within Victoria River Gorge, Gregory National Park Northern Territory Australia." Phd thesis, 2009. http://hdl.handle.net/1885/149703.
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Черепова, Тетяна Федорівна, and Tetiana Fedorivna Cherepova. "Розвиток естрадного вокального мистецтва в Сумській області." Master's thesis, 2021. http://repository.sspu.edu.ua/handle/123456789/11779.
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У магістерській роботі висвітлено розвиток естрадного вокального мистецтва на теренах Сумської області, а також визначено самодіяльну художню творчість як одну з провідних умов розвитку естрадного вокального мистецтва в Сумській області. У кваліфікаційній роботі конкретизовано сутність та особливості естрадного мистецтва, виникнення і розвиток естрадного вокального мистецтва, визначено вплив естрадного вокального мистецтва на розвиток сучасного суспільства, а також висвітлено стан розвитку естрадного вокального мистецтва в Сумській області та його особливості.The master's thesis highlights the development of pop vocal art in the Sumy region, as well as identifies amateur art as one of the leading conditions for the development of pop vocal art in the Sumy region. The qualification thesis specifies the essence and features of pop art, the origin and development of pop vocal art, determines the impact of pop vocal art on the development of modern society, and highlights the state of development of pop vocal art in Sumy region and its features.