Relevant bibliographies by topics / Madonna Madonna Madonna Madonna Image / Dissertations / Theses
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Dissertations / Theses on the topic 'Madonna Madonna Madonna Madonna Image'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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1

Decker, Jan-Oliver. "Madonna: where's that girl? : Starimage und Erotik im medialen Raum." Kiel Ludwig, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=014629970&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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2

Israëls, Machtelt. "Sassetta's Madonna della Neve an image of patronage /." [Leiden : Amsterdam : Primavera Pers] ; Universiteit van Amsterdam [Host], 2003. http://dare.uva.nl/document/70426.

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3

Eriksson, Elin. "Frontlinjen, Persson & Madonna : En uppsats om personer som bärare av varumärken." Thesis, University of Kalmar, Baltic Business School, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-1221.

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The purpose of this essay is to analyze and understand how people in different ways can take on the role as carriers of brands and understand what part they play in today’s society. Brands are everywhere today and the competitions are becoming harder and harder for the customers’ attention and consumption, which is why I am curious of how an individual in a company’s frontline or a celebrity can help the success of a brand. The essay is based on a qualitative method where six interviews have been performed. The persons I have interviewed are selected after their knowledge of people as carriers of brands and personal brands of different kinds, both regarding celebrities and individuals in the frontline. The material generated from these interviews has made out the basis of my analysis and is presented in the fourth chapter of this essay. Since I am using a qualitative method it is hard to make any generalisations regarding personal brands, even though certain patterns can be seen. For further reading I would therefore like to direct you to the fourth and fifth chapter.

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4

El-Hanany, Efrat. "Beating the devil : images of the Madonna del Soccorso in Italian Renaissance art /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3230546.

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5

Nakad, Valeska Fonseca. "Madonna e os meios massivos de comunicação: pactos para a construção de uma persona." Universidade Anhembi Morumbi, 2008. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1429.

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Este estudo tem como objetivo apresentar a comunicação contemporânea, como foco de uma pesquisa que aborda a mídia, a moda, enquanto um processo de mudanças constantes. Com premissa o estudo da construção imagética do ícone Madonna por meio desses veículos. São abordadas hipóteses para a construção de sua persona, um construto que se deu pela inovação visual em seus produtos transmitidos nos meios massivos de comunicação. A moda é tratada como um processo mediático que transite e capta influências de estilo, comportamento, hábitos e atitudes. Para tanto a análise e pesquisa da obra da popstar Madonna que nesta pesquisa, toma corpo como um construto de sua personagem que se vale de tipologias em cada novo trabalho. Ao se debruçar na obra da megastar percebe-se a dimensão de seu trabalho, portanto para uma análise adequada, foi necessário de dividir o seu trabalho em partes. Assim ao fragmentar o conjunto de sua obra, optouse por estudar os videoclipes a fim de traçar um paralelo entre a comunicação, a moda e as personagens interpretadas para a construção da sua persona. Para se entender o contexto em que a diva pop consegue engendrar tamanha influência, o estudo dos paradigmas de Gumbrecht que caracterizam o contemporâneo. Neste estudo a destotalização foi comparado ao aspecto tribal da moda, isto é, a fragmentação da moda e uma construção de visuais sobrepõem estilos. A destemporalização, que aplicado a moda traz o conceito de mistura de estilos, em que a composição do visual parte de referências de ícones passados, misturados com ícones contemporâneos, todos em um tempo só. E a desreferencialização, que pressupõe que essa moda ao ser vista do ponto de vista da performance é criada no espaço mediático. Portanto constata-se que Madonna com sua estratégia de superexposição e mudanças em suas obras, neste estudo os seus videoclipes, afirma-se que estas estratégias se baseiam no sistema da moda, do sistema fashion em que impera o efêmero.
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Barreto, Rodrigo Ribeiro. "A fabricação do ídolo pop: a análise textual de videoclipes e a construção da imagem de Madonna." reponame:Repositório Institucional da UFBA, 2011. http://www.repositorio.ufba.br/ri/handle/ri/1075.

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A trajetória videográfica de Madonna, iniciada há mais de 20 anos, confunde-se com o próprio desenvolvimento do videoclipe, cuja consolidação aconteceu também a partir dos anos 1980. Desde então, a contínua popularidade da artista deu a ela e a seus colaboradores respaldo para executar inovações tanto estilísticas quanto temáticas neste formato. A artista adotou os clipes como mais um desdobramento de seu trabalho artístico e como ferramenta para a construção ou a fabricação de sua imagem pública. Esta dissertação foi guiada pelo propósito de analisar videoclipes, considerando-os como obras expressivas passíveis de serem compreendidas tanto em abordagens voltadas para o deslindamento de sua organização interna quanto no seu funcionamento como instrumentos efetivos no processo de construção de imagem de Madonna. O trabalho apresenta o resultado da aplicação de uma metodologia de análise sobre um corpus de 18 (dezoito) clipes representativos do percurso videográfico da artista. Foram incluídas obras correspondentes a canções de todos os álbuns da cantora e, desse modo, de todas as suas fases criativas. Esta abordagem analítica textual foi desenvolvida e aplicada no grupo de pesquisa Laboratório de Análise Fílmica, coordenado pelo Prof. Wilson Gomes, e procurou identificar: a) os elementos primordialmente manipulados em cada obra, b) os modos de organização interna destes elementos e c) os tipos de efeitos programados na obra e por ela suscitados. Com base na familiaridade conquistada no contato com toda a videografia de Madonna e de posse dos resultados da abordagem individualizada dos videoclipes selecionados, foi avaliada a recorrência de certos elementos – temáticos, cênicos, imagéticos, musicais, narrativos e coreográficos – de uma obra para a outra, procurando identificar a relação destes achados com diferentes conceitos ou pressuposições que nortearam e norteiam as impressões a respeito de Madonna. A imagem da artista está associada à versatilidade, ao amplo controle criativo do seu trabalho, à verve polêmica e à habilidade de reinventar-se através de apropriações diversas, assunção de diferentes personae artísticas e os mais variados arquétipos.
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7

Williamson, Beth Ann. "The Virgin Lactans and the Madonna of Humility : image and devotion in Italy, Metz and Avignon in the thirteenth and fourteenth centuries." Thesis, Courtauld Institute of Art (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338804.

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8

Toerien, Monica Jane. "Jellybean Madonna." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8995.

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9

Douglas-scott, Michael. "Art patronage and the function of images at the Madonna del l'Orto in Venice under the secular canons of S. Giorgio in Alga circa 1462-1668." Thesis, Birkbeck (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261794.

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10

Motta, Valeria. "Le spectacle de la dévotion. Le sanctuaire de la Madone des Grâces de Mantoue : image votive et représentation (XVe-XVIIe siècles)." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0118.

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Cette thèse s’intéresse aux processus de production de l’image votive à travers l’étude d’un ensemble de sculptures conservées dans le Sanctuaire de la Madone des Grâces de Curtatone, proche de Mantoue. L’extraordinaire apparat votif que l’on peut y admirer est constitué de cinquante-trois effigies polychromes et polymatheriques, datant pour la plupart du XVIe siècle, représentant le donateur grandeur nature, et pourvues d’accessoires réels (vêtements, cordes, objets dévotionnels…). Ces figures sont disposées dans des niches au sein d’une structure architecturale en bois totalement couverte d’ex-voto anatomiques en cire. Les documents concernant les effigies du sanctuaire de Curtatone sont considérés en rapport à d’autres rares témoignages de cette pratique en Italie. Cette analyse nous permet de réfléchir au rapport qui relie l’objet au donateur, en indiquant qu’il ne s’agit pas précisément de représentations tridimensionnelles de la figure humaine mais d’objets constitués physiquement par le lien votif et qui impliquent des interrogations complexes. Une réflexion de nature anthropologique s’est donc imposée en considérant non seulement le procédé qui préside à leur réalisation mais aussi leur utilisation rendue possible grâce à l’ambiguïté de la représentation et au concept de vraisemblance, qui imprègne la société européenne occidentale qui a élaboré une véritable culture du simulacre. Outre les effigies votives, ce travail prend également en compte les autres éléments qui composent le sanctuaire des Grâces : l’architecture scénographique qui accueille les sculptures, la décoration d’ex-voto en cire qui y sont accrochés, les inscriptions en rimes qui accompagnent les effigies, la fresque florale de la voûte. La portée de ce travail est de démontrer comment ce scénario votif présente une dimension qui dépasse la simple illustration du miracle. Ce dispositif nous oblige à réfléchir sur la dimension plurielle et dynamique propre aux images, qui concerne le rôle de la représentation dans les pratiques dévotionnelles de l’époque moderne (XVe-XVIIe siècles), la capacité que ces sculptures ont de susciter des réactions sur l’observateur et leur fonction à l’intérieur d’un réseau complexe de relations sociales et d’échanges symboliques qui renvoient à la famille Gonzague et à l’ordre franciscain qui gérait à l’époque le sanctuaire
The purpose of my doctoral thesis is to advance understanding of the process of production of votive images through the study of a set of sculptures exposed in the Sanctuary of Madonna delle Grazie, that is situated on the bank of the Mincio, some five miles west of Mantua. The extraordinary votive display that we can admire inside, is made up of fifty-three effigies representing the life-size donor, mostly dating from the sixteenth century and equipped with real accessories (clothing, ropes, devotional objects ...). These sculptures are placed into an architectural structure that is completely covered with wax anatomical ex-votos. The documents concerning the votive effigies have been linked with other rare sources of this practice in Italy. The fundamental aim is to show that these full-size sculptures has a conceptual dimension that overtakes the simple notion of offering. The devotional act in the Mantuan sanctuary consists in making the survivor recognisable through the realization of realistic images. In doing so, such act pose anthropological questions regarding the efficacy of this ritual and the effects that these sculptures arise in the devotional community. From a more interdisciplinary perspective, what became interesting was to understand the artistic discourses about resemblance and mimesis and about the meaning of pursuing this likeness to the devotee in the ex-voto ritual. This study is also based on several assumptions concerning the elements that compose the Madonna delle Grazie sanctuary: the scenographic architecture in which the sculptures are displayed, the wax decoration, the rhyming votive inscriptions of the effigies, the floral fresco of the vault. The pourpose of this work is to demonstrate how this "votive scenario" presents a dimension that goes beyond mere illustration of the miracle. This system forces us to reflect on the pluralistic and dynamic dimension of images. This dimension concerns the role of representation in the devotional practices of the modern period (15th-17th centuries), the ability of these sculptures to elicit reactions on the observer and their function within a complex network of social relations and symbolic exchanges which refer to the Gonzaga family, rulers of the city of Mantua, and the Franciscan friars that had the care of the sanctuary
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11

Guilbert, Georges-Claude. "Madonna : un mythe postmoderne." Paris 10, 1998. http://www.theses.fr/1998PA100117.

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12

Kaspersen, Kristian. "Madonna- en missionär för sin samtid? : en analys av religionens återkomst utifrån popartisten Madonna." Thesis, Södertörn University College, School of Gender, Culture and History, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1685.

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13

Gans-Morse, Ethan. "The Canticle of the Black Madonna." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13253.

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The Canticle of the Black Madonna is an original opera-oratorio in two acts, comprising 27 pieces for six operatic soloists, mixed chorus, and chamber orchestra. It is based on an original libretto by Tiziana DellaRovere and is approximately two hours in duration. The Canticle of the Black Madonna combines elements of numerous musical traditions—including medieval organum, baroque oratorio, and both classical and contemporary chamber opera—to tell the story of a fictional American soldier returning from Afghanistan to his wife in Louisiana, the challenges they face to their marriage and livelihood as they struggle with post-traumatic stress disorder, the ecological and socioeconomic consequences of the 2010 Gulf Oil Spill, and the healing transformation they ultimately undergo at the hands of a mysterious divine figure called The Black Madonna.
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Highhouse, Galadriel Bree. "Madonna Inn: A Hotel In Context." DigitalCommons@CalPoly, 2011. https://digitalcommons.calpoly.edu/theses/669.

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This paper examines the political, economic and social influences that contributed to the development of the Madonna Inn in San Luis Obispo. I provide a brief history of the hotel industry and place the Madonna Inn within the historiography and argue that the nexus of three elements in the 1950s and 1960s led to the growth and popularity of the Madonna Inn: fear of nuclear war, growth of the middle class, and the rise of automobile culture in America.
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Dungan, Bebhinn. "Eve and the Madonna in Victorian art." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1254.

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This study identifies and addresses representations of Eve and the Madonna exhibited at seven well-known London venues during the Victorian era (1838-1901). The subjects of Eve and the Madonna are here selected for detailed analysis from the broader context of Victorian religious subject pictures, a category of Victorian art that remains arguably under-researched. Nineteenth-century religious art was rooted in a Romantic sensibility and was invested with the purpose of providing a balm during a course, commercial industrial age, which, like the Enlightenment that preceded it, heralded the birth of modern life. Religious art of the nineteenth-century was promoted for consumption by the emerging middle class as a balm to the material age. However, the art that reflected this anti-modern, anti-capitalist impulse served, paradoxically, as both an antidote to and a participant in the materialist marketplace. During the mid-nineteenth century, a moralizing, instructional value was invested in art and religious subjects in general, which experienced a peak in exhibition c. 1850. By the 1860s, however, British art was characterized by a less narrative and didactic sensibility, reflected in Aestheticism, which was concerned with ‘a separation of art from the concerns of ‘real life,’ as well as the Venetian Renaissance. In the 188s, Symbolism emerged, characterized not by style, but a sensibility, which included preoccupation with emotions, dream states, mythologies and religion, innocence, sin, beauty, motherhood, sex, disease, death. Although they were traditional figures, the Madonna and Eve were each invested with, and emblematic of, some of these fin-de-siècle themes. The seven prominent Victorian London exhibition venues examined range from conservative promoters of academicism to sites that promoted the risk-takers of the nineteenth century, such as the Grosvenor Gallery and the New Gallery. These were venues where national tastes were codified, national heroes were made and international artistic values were reexamined and reevaluated. This dissertation examines a nineteenth-century trajectory, from the early Victorian era through the turn of the nineteenth to the twentieth century, identifying styles if art through which to biblical icons of feminine identity, Eve and the Madonna, were expressed, and examining the ideas invested in them, all within the context of the Victorian revival of interest in Renaissance art and the stylistic trends in nineteenth-century art making.
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Landman, Melanie Rose. "An investigation into the phenomenon of the black Madonna." Thesis, University of Roehampton, 2012. https://pure.roehampton.ac.uk/portal/en/studentthesis/an-investigation-in-to-the-phenomenon-of-the-black-madonna(e4eae3da-843f-4207-b65f-b9205344de55).html.

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The following thesis investigates the figure of the black Madonna. Because there is a lack of information on why and when these figures were created, this has created an air of mystery and intrigue around them and they have become the subject of highly speculative assumptions. The thesis has two main aims. Firstly, it analyses the trends in the existing literature; it considers the problems such research raises and how these might be addressed more critically. Secondly, this thesis will argue that it is possible to adopt a different way of approaching the subject of black Madonnas. The research in this thesis was conducted because it was felt not only were there were gaps in the existing literature, but there were questions raised in this literature that largely went unanswered. A significant section of the existing literature has used what might be described as a ‘grand narrative’ approach to the subject, trying to find an explanation that can account for the existence of all black Madonnas and what these images might mean. This thesis adopts a ‘lived religion’ approach to the study of black Madonnas. By conducting an ethnographic, fieldwork based method, it looked at the place of the black Madonna at St Mary’s Anglican Church, London and the relationship the congregation have with this black Madonna. It was found that this shrine challenged some of the existing assumptions about black Madonnas. Rather than the powerful, mysterious, esoteric alternative to the Virgin Mary portrayed in the previous literature, the black Madonna at St Mary’s was not always a central feature for worshippers. This research demonstrates that different results may be obtained if the focus is on one shrine rather than a comparative study. It is the combination of a critical examination of the existing literature with the results of the fieldwork that has made this research an original contribution to the field of black Madonna studies.
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Davis, Leon W. "The Shrine of the Black Madonna and the afrocentric personality." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2013. http://digitalcommons.auctr.edu/dissertations/720.

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The purpose of this study was to investigate the fact that the Shrine of the Black Madonna creates an Afrocentric personality in its members. The essential questions of this study are the following: (1) How does the Shrine of the Black Madonna create Afrocentric personalities in its members? (2) How will members of the Shrine, using communal economics, self knowledge, and an African orientation, reflect the collective identity of the African saying, "I am because we are, because we are, therefore I Am." This study is significant because the study is based on the premise that Afrocentric organizations will produce Afrocentric personalities that are capable of eradicating most of the problems facing African people in America. The liberation of African people is recorded as the most sacred objective of the Shrine. The Shrine is concerned with building a Black Nation. The study investigates the practical aspect of Afrocentric institutions which makes this exploration significant. A mixed method methodology was used to analyze gathered data from the participant observer method, quantitative study, and qualitative study methods. This study is based on the premises that the Shrine of the Black Madonna produces Afrocentric personalities through the KUA (small) group method and the practice of the Nguzo Saba method. There are programs and institutions the Shrine uses to create Africans that believe they are building a nation. As a participant in the activities of the Shrine, the researcher observed that the Shrine is an Afrocentric institution. The following institutions were observed (1) History Class, (2) Museum, (3) Worship Service, and (4) Beulah Land Farm. The qualitative findings of the study found that the Shrine of Black Madonna has Afrocentric members using elite interviews. The quantitative study used the African selfconsciousness scale test in the measurement of the Shrine members; the researcher found that they have Afrocentric personalities. The Shrine of the Black Madonna definitely produces members with an Afrocentric personality. The transformation of members occurs during the KUA group sessions. The use of Afrocentric symbols and activities reinforces the members' new worldview. The researcher recommends that other scholars study other organizations that create an African centered program such as the Nation of Islam, US Organization, and the Hebrew Israelite group.
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Bardi, Monica. "Le voci dell'assenza : una lettura dell'"Elegia di Madonna Fiammetta /." Torino : Tirrenia stampatori, 1998. http://catalogue.bnf.fr/ark:/12148/cb37548341c.

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Salib, Prisca. "Ermanno Wolf-Ferrari - Der Schmuck der Madonna eine veristische Oper?" Tutzing Schneider, 2009. http://d-nb.info/997776129/04.

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Scaperoth, Deborah. "Not so immaculately conceived imagining the Protestant Madonna 1850 - 1910." Saarbrücken VDM Verlag Dr. Müller, 2006. http://d-nb.info/985466596/04.

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Giuffredi, Ottavia. "Translating the Untranslated: Heterolingualism in F. G. Paci’s Black Madonna." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38443.

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The approach to translating multilingual texts has long been a subject of debate among scholars and translators, sparking discussions on which translational choices and strategies should be employed. An additional challenge occurs when a minority language in a multilingual (or rather, heterolingual) text becomes the target language. In these circumstances, the translator faces the dilemma of choosing how to preserve the Otherness that the non-dominant language conveys in the first text without overly manipulating it or stripping it of its nature. My analysis focuses on the challenges of translating Black Madonna (1982), a novel by prolific Italian-Canadian writer Frank Paci. Like many Italian-Canadian authors, the vast majority of Paci’s novels feature untranslated Italian terms and dialogues throughout the text. The first chapter of this thesis provides an introduction to the author and the basic concepts around which I structure my discourse, such as immigrant writing and the so-called ‘linguistic stones’ (untranslated terms). The section that follows features an overview of the most prominent Italian-Canadian plurilingual writers, as well as a brief analysis of a few selected works with a special focus on Scarpe Italiane (2007), the only novel by Paci to ever be translated into Italian. The research moves on to theories of translation, discussing various strategies and solutions proposed by scholars involved in the debate. The following chapter consists of a commentary in which I support a balance of foreignization and domestication by converting Italian terms into the appropriate regional dialect, since dialect is a prominent element in Paci’s novels. Finally, in the last section, I provide my translation of the novel into Italian.
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Russell, Sandra E. "Donatello's Terracotta Louvre Madonna: A Consideration of Structure and Meaning." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1429041274.

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Hayne, Christopher J. "Structural depth in Jonathan Harvey's 'Madonna of Winter and Spring'." Thesis, University of Surrey, 2015. http://epubs.surrey.ac.uk/808997/.

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The English composer Jonathan Harvey was a distinctive and major presence in contemporary music since the early 1960s up to his death in 2012. His output in the 1970s and 1980s reflects a key transition in the development of his style and through such works as the Inner Light Trilogy, Mortuos Plango, Vivos Voco and Bhakti could be seen to reach a zenith in his 1986 work Madonna of Winter and Spring. A major element of this work and those that precede it was the composer’s interest in techniques and approaches providing the structural depth the composer was endeavouring to realise. The purpose of this thesis has been to understand his use of structural depth within “Conflict”, the first section of Madonna of Winter and Spring¬. Through an analysis of earlier works by Harvey, and those of Messiaen, Stockhausen and other composers, clear influences on his compositional aesthetic are identified. Various other contextual influences, and experiences are shown to have also strongly influenced his approach. Discourse reveals the detailed systematic approach undertaken by the composer in structuring his works, and the importance of the concepts of unity and ambiguity, and the significance of live electronics in that regard. It is shown that Harvey’s use of structural depth in “Conflict” was based on a coherent model, influenced by the philosophies of Steiner and Schenker, which embraced all musical elements (pitch, harmony, timbre and narrative) within a single unity. The model is described in terms of these musical elements functioning on vertical and horizontal planes. Madonna of Winter and Spring is a key work of this increasingly important English composer and reflects a milestone in his developing methodology. An understanding of its purpose and place within his oeuvre is of interest to composers, musicologists and listeners alike.
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Wu, Jennifer. "Reinventing donor family portraiture| Hans Holbein the Younger's Darmstadt Madonna." Thesis, American University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10239480.

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This thesis examines how Hans Holbein the Younger negotiated the genre of donor family portraiture in the Darmstadt Madonna (1526/1528) by creating a contemporary representation of the patron Jakob Meyer’s family. In early sixteenth-century Basel, reforms within the Catholic Church and the advent of Protestantism contested late medieval concepts of gender, kinship, and piety. I argue that the Darmstadt Madonna addressed this tumultuous context by partially reorienting the focus of traditional devotionally-themed paintings from the holy figures to the donor family. In this transitional work, Holbein offered an innovative and complex representation of the Meyer family members, their interconnections, and their relations with the depicted holy figures. The painting inventively satisfied Jakob Meyer’s ostensible objectives in representing his family’s exemplary devotional practices, his own paternal authority, and the Meyers’ procreative continuity through their daughter, Anna.

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Williamson, Beth. "The Madonna of Humility : development, dissemination & reception, c. 1340-1400 /." Woodbridge : Boydell, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017045935&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Williamson, Beth. "The Madonna of Humility : development, dissemination & reception, c.1340-1400 /." Woodbridge : The Boydell Press, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9781843834199.

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Harrold, Jillian May. "The Madonna del Parto in Trecento Tuscany, symbolic meaning and ritual use." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22321.pdf.

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Van, Vuuren Sonja. "South African satire : a study of Zakes Mda's The Madonna of Excelsior." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/16455.

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Thesis (MA)--University of Stellenbosch, 2004.
ENGLISH ABSTRACT: This thesis analyses Zakes Mda’s The Madonna of Excelsior from three different points of view, namely post-colonial, feminist and satirical. The latter constitutes the main interpretation of the novel and serves as a link with the other two discourses – the key argument being that satire is not a solipsistic form of art, and thus a satirical text should not be considered on its own, but should rather be interpreted in conjunction with other cultural discourses. This thesis is of the opinion that one needs all three of the named viewpoints in order to fully comprehend and appreciate the depth of Mda’s satire and his comments on South African society. His novel contains several candid comments on the political situation of South Africa in both the apartheid and the democratic eras, and his tongue-in-cheek observations force the reader to consider his novel from a political and a satirical angle. As apartheid is a form of colonialism and South Africa carries several scars from colonial times (such as diasporic conditions and multi-cultural identity crises, to name a few of those discussed), this thesis analyses Mda’s political commentary in terms of post-colonial discourse. Due to Mda’s use of female protagonists, this thesis also considers a feminist interpretation as necessary for a better understanding of the novel: through the use of feminist discourse, the violence that is committed against some of the female characters in the novel is interpreted as a way of enforcing colonial power relations. Chapters two, three and four respectively each discuss one of these interpretations: post-colonial, feminist and satirical, whilst chapter one is devoted to defining the art of satire.
AFRIKAANSE OPSOMMING: Hierdie tesis analiseer Zakes Mda se The Madonna of Excelsior vanuit drie verskillende oogpunte, naamlik die postkoloniale, feministiese and satiriese. Laasgenoemde konstitueer die hoofinterpretasie van die teks, en vorm ook ‘n skakel met die ander twee diskoerse. Die hoofargument van die tesis is dat satire nie ‘n kunsvorm is wat alleen bestaan nie, en dus behoort ‘n mens nie ‘n satiriese teks in isolasie te oordink nie, maar so ‘n teks moet geïnterpreteer word in verbinding met ander diskoerse. Hierdie tesis glo dat al drie van die genoemde oogpunte noodsaaklik is om Mda se satiriese kommentaar en aanmerkings oor die Suid-Afrikaanse gemeenskap werklik te verstaan en waardeer. Daar is etlike openhartige aanmerkings in die teks wat die politiese situasie van Suid-Afrika in beide die apartheid en die demokratiese eras aanspreek, en Mda se skertsende kommentaar dwing die leser om die teks te oordink van ‘n politiese, asook ‘n satiriese, gesigspunt. Aangesien apartheid ‘n vorm van kolonialisme is, en Suid-Afrika verskeie littekens van koloniale tye dra (soos disporas en multi-kulturele krisisse, om maar ‘n paar te noem), analiseer hierdie tesis Mda se politiese aanmerkings in terme van ‘n postkoloniale interpretasie. Mda se gebruik van vroulike hoofkarakters veroorsaak dat hierdie tesis ook a feministiese interpretasie benuttig vir ‘n betere begrip van die teks: deur die gebruik van ‘n feministiese diskoers kan ‘n mens die geweld wat teen sommige van die vroulike karakters gepleeg word sien as ‘n manier om koloniale magsverhoudinge af te dwing. Hoofstukke twee, drie en vier bespreek elk een van hierdie oogpunte: postkoloniaal, feminisme en satiere, terwyl hoofstuk een die satiriese kuns probeer definieer.
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Busse, Till. "Madonna con Santi Studien zu Domenico Ghirlandaios mariologischen Altarretabeln ; Auftraggeber, Kontext und Ikonographie /." [S.l. : s.n.], 1999. http://deposit.ddb.de/cgi-bin/dokserv?idn=962672718.

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Davis, Maryellen Tweed Thomas A. "Mary as media icon the Madonna in twentieth-century American Catholic devotional cultures /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1102.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Mar. 27, 2008). " ... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Religious Studies." Discipline: Religious Studies; Department/School: Religious Studies.
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Wilde, Marc. "Das unbekannte Schlüsselwerk : Die Madonna del Bordone des Coppo di Marcovaldo in Siena /." Weimar : VDG, 2004. http://www.loc.gov/catdir/toc/fy0701/2005424884.html.

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Satzinger, Georg. "Antonio da Sangallo der Ältere und die Madonna di San Biagio bei Montepulciano /." Tübingen : E. Wasmuth, 1991. http://catalogue.bnf.fr/ark:/12148/cb35699883v.

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Santos, Sandra Cristina da Costa. "Harmonia, timbre e espaço em Madonna of Winter and Spring de J. Harvey." Master's thesis, Universidade de Aveiro, 2005. http://hdl.handle.net/10773/4572.

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Mestrado em Música - Estudos Teóricos
O presente trabalho realiza uma analogia entre a importância de harmonia, timbre e espaço na criação musical, pois são conceitos que se revelam cada vez mais como a base da investigação de futuro no campo da música. Através do conhecimento cimentado nas tendências composicionais de Jonathan Harvey, são comparados os níveis de interpenetração entre estes três parâmetros na obra Madonna of Winter and Spring, estabelecendo relações que se articulam com a espiritualidade reclamada pelo compositor para as suas obras. Assim, a análise musical abrange diferentes formas de consolidar os elementos escritos, nomeadamente no que diz respeito aos materiais que serviram de base a criação. São por isso colocadas em causa várias questões do domínio da estética musical, comparando elementos relacionados com a electrónica e o mundo instrumental, para além de se provar a fusão de diferentes tendências estilisticas na obra do compositor. No entanto, pelo facto de Jonathan Harvey dedicar grande parte da sua obra desde a década de setenta a questões relacionadas com a transcendência, a análise extravaza o domínio científico para entrar no foro do dogmatismo do compositor que se suporta precisamente nos conceitos mais puros da elaboração da sua música. Realiza-se então um enquadramento entre essas questões e a linguagem musical para quem nelas não se revê. Significa isto que Madonna of Wlnter and Spring assenta os prismas colocados em análise sobre um princípio defendida pelo compositor como fundamental: o conceito de Ambiguidade Musical. Assim, após ser exposto e explicado todo o conteúdo abarcado por este tema e nele enquadrado os princípios de análise sobre a harmonia, o timbre e o espaço nesta obra, em comparação com elementos de outras criações. Finalmente são retiradas as conclusões referentes ao nível de inter-relação entre os três pilares da análise para a criação da obra, sendo ainda comparados com as funções a eles atribuídas pelo compositor no domínio do espírito.
The present text establishes a relationship between harmony, timbre and space as concepts more and more important in the future musical research. By de knowledge based on the compositiona! tendencies of Jonathan Harvey, the levels of interpenetration of this tree parameters are compared in Madonna of Winter and Spríilg, establishing relationships that articulate themselves with the spirituality proclaimed by the composer for his works. So, the musical analysis uses different methods to justify the elements of the piece, especially to what is concerned with its creation baçic rnaterials. However, since the spirit is the most important goal for Harvey work, the analysis spreads out the science domain and enters in the composers vision of religion, were just stays the purest concepts of his musical elaboration, the ambiguity. T he conclusions are made to measure the levei of each parameter in analysis and its functions in music and spirituality.
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Jahosky, Michael Thomas. "“Some Marvelous Thing”: Leonardo, Caterina, and the Madonna of the Rocks." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1666.

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Leonardo's Virgin of the Rocks (or Madonna of the Rocks, c.1486) is a masterpiece. Scholars have been unclear, however, about the unconventional cave setting and where Leonardo's inspiration came from. The Song of Songs mentions a beautiful bride being invited to come "into the wall of rocks," and the apocryphal Gospel of James (written around 150 A.D.) tells the story of Jesus being born in a cave outside of Bethlehem. But Leonardo's own personal cave experience in 1481 spurred his desire to find literature that placed Jesus' birth in a cave, or a "wall of rocks." This thesis focuses on a specific discourse prominent in Leonardo scholarship which has taken place over the years, chiefly concerning Leonardo's strange cave background in the Virgin of the Rocks.
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Santos, Sandra Cristina da Costa. "Harmonia, timbre e espaço em Madonna of Winter and Spring de J. Harvey." Master's thesis, Universidade de Aveiro, 2005. http://hdl.handle.net/10198/6913.

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O presente trabalho realiza uma analogia entre a importância de harmonia, timbre e espaço na criação musical, pois são conceitos que se revelam cada vez mais como a base da investigação de futuro no campo da música. Através do conhecimento cimentado nas tendências composicionais de Jonathan Harvey, são comparados os níveis de interpenetração entre estes três parâmetros na obra Madonna of Winter and Spring, estabelecendo relações que se articulam com a espiritualidade reclamada pelo compositor para as suas obras. Assim, a análise musical abrange diferentes formas de consolidar os elementos escritos, nomeadamente no que diz respeito aos materiais que serviram de base a criação. São por isso colocadas em causa várias questões do domínio da estética musical, comparando elementos relacionados com a electrónica e o mundo instrumental, para além de se provar a fusão de diferentes tendências estilisticas na obra do compositor. No entanto, pelo facto de Jonathan Harvey dedicar grande parte da sua obra desde a década de setenta a questões relacionadas com a transcendência, a análise extravaza o domínio científico para entrar no foro do dogmatismo do compositor que se suporta precisamente nos conceitos mais puros da elaboração da sua música. Realiza-se então um enquadramento entre essas questões e a linguagem musical para quem nelas não se revê. Significa isto que Madonna of Wlnter and Spring assenta os prismas colocados em análise sobre um princípio defendida pelo compositor como fundamental: o conceito de Ambiguidade Musical. Assim, após ser exposto e explicado todo o conteúdo abarcado por este tema e nele enquadrado os princípios de análise sobre a harmonia, o timbre e o espaço nesta obra, em comparação com elementos de outras criações. Finalmente são retiradas as conclusões referentes ao nível de inter-relação entre os três pilares da análise para a criação da obra, sendo ainda comparados com as funções a eles atribuídas pelo compositor no domínio do espírito.
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Sekti, Rizky Purbaya. "3-D Stratigraphy and Fracture Characterization in Late Cretaceous Carbonates (Madonna della Mazza, Italy)." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_theses/38.

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Comprehensive fracture assessment is not an easy task as most fracture analyses rely on two-dimensional outcrops. A newly developed acquisition system of full resolution 3D Ground Penetrating Radar (GPR) and subsequent migration of the data allow, for the first time, to image fracture and deformation band networks in three dimensions. A full resolution GPR data set was acquired in the Madonna della Mazza quarry in the Maiella mountains, Italy. The quarry is cut into the Upper Cretaceous (Maastrichtian) Orfento Formation in the limb of an anticline. Combining 3D GPR and outcrop analysis reveals both the sedimentology and fracture characteristics in the quarry. The GPR data images the strata in more detail than what is visible in the quarry walls. For example, GPR data reveal a series of prograding bedsets that are interpreted as sub-aqueous dunes resulting from a unidirectional bottom or tidal current in the outer ramp environment. A fine-grained carbonate, lithofacies B, appears intermittently throughout the whole strata. In the massive grainstone beds extensive bioturbation destroyed the sedimentary structure and prevents the interpretation of the depositional process. The fracture development in the quarry is partly stratigraphically controlled. Deformation bands preferentially occur in the high porosity and high permeability massive grainstone unit, while stylolites are extensively developed in the thin-bedded packstone-grainstone lithofacies. The fracture analysis in the GPR data corroborates results of the outcrop analysis of previous workers. Performing a manual interpretation of the GPR data, faults with two dominant orientations (N-NW and E-W) were identified. The automated "Ant Tracking" analysis of the GPR data, however, revealed four dominant fracture orientations (N-NW, NW, W-NW, and EW). Furthermore, the automated ("Ant Tracking") 3D GPR analysis reveals a mechanical unit boundary; lithofacies C contains almost twice the density of deformation bands as the strata below. Integrating the outcrop analysis with the automated analysis of the 3D GPR data using "Ant Tracking" is essential for accurately quantifying the entire fracture population in the quarry. Total fracture diversity and abundance has previously been underestimated by 2D outcrop mapping and is also not completely depicted using manual interpretation of 3D GPR data.
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Fried, Alexandra. "The Swedish Madonnas : a comparative study of wooden sculptures of the Virgin and Child between 1250 and 1350." Thesis, University of Leicester, 2012. http://hdl.handle.net/2381/27642.

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This thesis provides a new overview of the wooden, sculpted image of the Madonna and Child in thirteenth - and early fourteenth - century Sweden. It comprises five parts: a socio-political and economic contextualisation of the images; a critique of the existing literature in the form of an analytical bibliography; a detailed evaluation of the sculptures; a catalogue of selected material; and a bibliography. In Chapter one, the historical examination discusses the Scandinavian context between 1250 and 1350. Scandinavia was then a thriving area, both economically and culturally, and was far less isolated and inward looking than art-historical analyses have hitherto assumed. However, Scandinavia was not a stable region in the period; borders were constantly revised as a result of political and military changes. Trade links also changed and brought with them different influences. Building on the works of Aron Andersson, Andreas Lindblom, C.R af Ugglas, Rune Norberg, Peter Tångeberg, Lena Liepe, Carina Jacobsson and Lennart Karlsson, the bibliographical critique in chapter two will analyse earlier texts that have discussed the sculptures which are the subject of this thesis. The third chapter organizes the sculptures into two main groups, and draws comparisons with international examples. It comprises a visual analysis of Swedish and international comparative material on a scale which has not been attempted before. The fourth chapter is a comprehensive catalogue of the 144 Madonnas dealt with in the text, sorted by region of origin.
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Larsson, Amanda. "Horan och madonnan : En kvalitativ analys över kvinnans gestaltning i moderna livsstilsmagasins personporträtt." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-26409.

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Lifestyle magazines portray women in different manners and have an influence on how media consumers create self-images. The importance of knowing how different visual representation of the female acts out in magazines with large target audiences is therefore of weight for the magazines’ readers to understand. This thesis analyze how the two lifestyle magazines ELLE and LOVE portrays women in images and how they in turn create ideal images of women. The thesis has been conducted through a qualitative analysis of 5 images from each magazine that represents the magazines artistic styles. The theories used in this study are semiotic image analysis and visual text analysis viewed from a gender- and discourse perspective. The conclusion of this thesis is that ELLE portrays women as strong, happy and feminine, with at tendency towards androgyny, while LOVE describes women as inferior and sexual objects constructed for the male gaze. The magazines, which belong to a classic- respectively a post-modern genre within lifestyle magazines, thereby switch places with each other and becomes each other’s counterparts.
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Schade-Schlieder, Ingrid [Verfasser], and Stefan [Akademischer Betreuer] Kummer. "Die Kopien der Madonna mit der Nelke von Raffael / Ingrid Schade-Schlieder. Betreuer: Stefan Kummer." Würzburg : Universitätsbibliothek der Universität Würzburg, 2012. http://d-nb.info/1019944897/34.

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Krems, Eva-Bettina. "Raffaels römische Altarbilder : Kontext, Ikonographie, Erzählkonzept : Die Madonna del Pesce und Lo Spasimo di Sicilia /." München : Akademischer Verlag, 2002. http://catalogue.bnf.fr/ark:/12148/cb389393130.

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Fransson, André. "Like a Prayer : En studie om hur religion skildras i populärkulturen med fokus på Madonna." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-33251.

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Syftet med uppsatsen var att undersöka hur kristendomen framställs i i populärmusik med Madonna som fokus. Som metod har jag genomfört videoanalyser av två av Madonnas musikvideos, Like a prayer och Oh Father. Teorin som använts är social konstruktivism som från början är presenterad av sociologiprofessorerna Peter L. Berger och Thomas Luckmann. Jag har även riktat fokus mot skolan då jag undersökt hur och i vilken utsträckning musik och musikvideos kan användas i utbildningssyfte. Enligt 2011 års läroplan står det att elevernas estetiska aspekter ska uppmärksammas och att bland annat musicerande ska vara inslag i skolans verksamhet. Teorin för detta är hämtad från Antal-Lundström som förespråkar en estetisk pedagogik för att nå ut till eleverna. Hypotesen har varit att med hjälp av musik kan man som lärare fånga och bibehålla elevernas intresse under lektionen. Utifrån det har ett förslag till lektionsplanering presenterats. I lgr 11:s kursplan för religionskunskap står det i det centrala innehållet att bland annat ska behandla hur olika livsfrågor skildras i populärkulturen. Min didaktiska slutsats är att musik och musikvideos kan lämpa sig bra som diskussionsunderlag i klassrummet inom ämnet religionskunskap. Min didaktiska slutsats är dock endast teoretisk då det inte har funnits tillfälle att testa detta i verkligheten.
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Tootle, Martavyrene L. "The political philosophy incorporated within Black theology: a case study of the shrine of the Black Madonna." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1988. http://digitalcommons.auctr.edu/dissertations/1676.

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The Black Christian Nationalists under the leadership of the Reverend Albert B. Cleage, Jr., the founder of the Shrine of the Black Madonna of the Pan-African Orthodox Christian Church, act as a separatist by seeking to establish their own separate black institutions in order to gain power with.in the. black community. Reverend Cleage asserts that the "traditional" black church has failed the black community by addressing only the spiritual -needs of its members. Although Reverend Cleage claims that the Shrine is the only black church meeting the needs of the black community, the majority of their institutions are designed primarily to aid only their members and not the entire community. The research is designed to address the question of whether the "traditional" black church has failed the black community while examining the political, social, and economic philosophy of the Shrine of the Black Madonna. Reverend Cleage's program of "institutional power" acts as a model for other black churches by combining poli tical philosophy with religious doctrine in order to aid the black community. The ideologies of Marcus Garvey, Malcolm X, and the Reverend Dr. Martin Luther King, Jr., are also analyzed in order to examine their contributions to the black religious community. The methodology utilized in conducting the study involves the Descriptive Case Study Method and the Document Study, in addition to David Easton's systems theory as the dominant paradigm.
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Driskill, Richard T. "Madonna, maiden and martyr : models of femininity in some early works of André Gide and D.H. Lawrence." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14828.

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This dissertation studies certain similarities between some early Bildungsroman of D. H. Lawrence and André Gide. In Lawrence's Sons and Lovers and The Rainbow, and Gide's L'lmmoraliste and La Porte étroite, the authors explore the destructive effects of cultural "Icons", narrowly codified gender roles, upon sensitive young European women at the turn of the century. Through an intricate subtext of allusive imagery, postures, language, and "mythical" patterns, Lawrence and Gide imply that a patristic Christianity had somehow enlisted certain strains of Romance to fashion a pervasive cultural code that encouraged young women to be virginal, passive, and receptive to suffering. The young female protagonists look to their roles as Madonna, Maiden, and Martyr as an escape from a provincial world that offers little to their "over brimming" souls. Ironically, it is their Knight-Christs, the "mentors" who propose to teach them about the higher world, who imprison them further. Pretending to elevate them to the status of Spiritual Muse to inspire the male quest for selfhood, the lovers demand of their Madonna-Maidens a passivity whereby suffering is their only "heroic" act. Male-sculpted models of femininity, then, make it impossible for young women to pursue their own quests for the authentic "self". The final tragedy for the young women comes when their opposite numbers awaken from Romance's pregenital spring to what Lawrence calls "blood-consciousness". The Maidens' Knight-Christs now find restrictive their spiritual lovers and desire instead the initiation into the "flesh" preached by a new cultural code, that of Nietzsche et al. Lawrence's and Gide's young female characters, then, serve as exemplars of an entire generation of young women destroyed in this teleological shift to a new cultural ethos, one in which, suddenly, their "virtues" are judged vices, all they had been presented to them as "natural" is deemed "unnatural".
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Agar, Bruno. "La force du religieux et du politique chez Madonna. Une approche de son expression à partir de ses trois documentaires : Madonna, Truth or Dare, 1991 ; I'm Going to Tell You a Secret, 2005 ; I Am Because We Are, 2008." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLE060/document.

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La thèse « La force du religieux et du politique chez Madonna. Une approche de son expression à partir de ses trois documentaires : Madonna : Truth or Dare, 1991, I’m Going to Tell You a Secret, 2005, I Am Because We Are, 2008 » s'intéresse à la façon dont la culture populaire contemporaine utilise des concepts et des outils originaires des domaines du religieux et du politique pour s'exprimer et exercer son influence dans la société. La longévité de la carrière de la chanteuse Madonna fait de son corpus de travail un lieu privilégié pour saisir et analyser l'emploi de tels concepts depuis les années 1990, et offre ainsi l'occasion de mieux comprendre les formes du contemporain et les enjeux de la culture populaire
This dissertation deals with the ways in which the contemporary popular culture uses concepts and tools coming from religion and politics in order to exert some influence on our society. The length of American singer Madonna’s career makes her decades-long artistic expression a privileged locus where such concepts can be grasped and analysed, starting in the 1990’s. This provides the opportunity to better understand the means of expression in our contemporary world, together with what is at stake in popular culture
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Classen, Sigrid Ulrike. "The black madonna figure as a source of female empowerment in the works of four Italian-Canadian authors." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq21732.pdf.

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Neff, Melissa Dawn. "Social constructions of women and how they divide women from other women: the Madonna/Whore and PMS constructs." Thesis, Boston University, 1999. https://hdl.handle.net/2144/27730.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Lundborg, Rebecka. "Medmänsklighet och Gudomligt Beskydd : En receptionsestetisk studie av Maria (Återkomsten) och Skyddsmantelmadonnan." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-413687.

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Syftet med uppsatsen ”Medmänsklighet och Gudomligt Beskydd – en receptionsestetisk studie av Maria (Återkomsten) och Skyddsmantelmadonnan” är att ur ett receptionsestetiskt perspektiv närma sig skulpturerna Maria (Återkomsten) av Anders Widoff och Skyddsmantelmadonnan av Lena Lervik. Skulpturerna finns i och i anslutning till Uppsala respektive Lunds domkyrka. Genom receptionsestetikens metod där man tittar på ett konstverks interna faktorer som rör verkets inre organisation samt externa faktorer såsom platsen där konstverken är placerade, andra konstverk som relaterar till verket, en myt eller berättelse som är viktig för förståelsen av konstverken etcetera, rör sig uppsatsen fram mot en diskussion kring vem som är verkens implicite betraktare, dvs. ideala betraktare. Uppsatsen ämnar även diskutera hur jungfru Maria gestaltas i de berörda skulpturerna: vilken bild konstverken ger av Maria. Metoden för att diskutera vem som är verkens implicite betraktare och hur betraktaren aktiverar konstverken i relation till platserna är besök på de platser där konstverken finns för att i denna miljö möta verken och läsning av relevant litteratur. Slutsatsen är att skulpturerna är medvetet placerade i anslutning till kyrkorum och att platserna utgör en viktig dialog med konstverken. Skulpturerna ger väldigt olika bilder av jungfru Maria: Maria (Återkomsten) gestaltar Marias mänskliga sida och Skyddsmantelmadonnan är mer av en gudinnegestalt, en Moder Jord och urmoder som beskyddar mänskligheten. Verkens implicite betraktare är någon som vistas på platsen och möter verken med en öppenhet; verken har båda en öppenhet i framförallt ansiktsuttryck som öppnar för olika tolkningar. Den implicite betraktaren – i meningen den ideala betraktaren – är en människa med en öppenhet för en andlig dimension men är inte nödvändigtvis troende. Betraktaren behöver inte ha kunskap om vem jungfru Maria är, verkens tillkomsthistoria, verk som kan tänkas relatera till skulpturerna etcetera men det kan fördjupa upplevelsen.
The purpose of the essay "Humanity and Heavenly Protection – a Study of Mary (The Return) and the Protective Cloak Madonna Based on the Theory and Method of Reception Aesthetics" is to approach the sculptures Mary (The Return) by the artist Anders Widoff, and The Protective Cloak Madonna by the artist Lena Lervik. The sculptures are placed inside Uppsala Cathedral and outside Lund Cathedral respectively, and the study is based on the theory and method of reception aesthetics, where one looks at an artwork's internal factors that relate to the work's internal organization, as well as external factors, such as the situation of the work, relating works, or myths or stories that are important to understanding the work. Through this theory, a discussion about the implicit (ideal) beholder of the works takes place. Furthermore, the essay aspires to discuss the representation of Virgin Mary in the sculptures: what images of her the artworks present. The discussion of the implicit beholder, as well as the question of how locations affect the viewer’s activation of the works, was based on visits to the sites, as well as the study of literature on the artworks and the theory used.  The conclusion is that the sculptures are intentionally placed in the vicinity of cathedrals, and that the sites constitute an important dialogue with the artworks. The sculptures present very different images of the Virgin Mary: Mary (The Return) embodies Mary's human side, while the Protective Cloak Madonna is more of a Goddess figure, a Mother Earth and ancestor who protects humanity. The implicit beholder of the works is someone who visits the sites and encounters the works with an open mind; the sculptures have openness to them, especially in the facial expressions that invite different interpretations. The implicit (ideal) beholder is a person with an open mind to a spiritual dimension, but is not necessarily a Christian. The viewer does not need to know who Virgin Mary is, nor the history of the artworks or relating works, even though such knowledge might deepen the experience.
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48

Loggins, Genevieve Pearl. "Use of social media tools to promote a community event analysis and recommendations for the Madonna Plaza farmer's maket /." Click here to view, 2010. http://digitalcommons.calpoly.edu/joursp/6/.

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Thesis (B.S.)--California Polytechnic State University, 2010.
Project advisor: Doug Swanson. Title from PDF title page; viewed on Apr. 20, 2010. Includes bibliographical references. Also available on microfiche.
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49

Monteiro, Maria Helena Guerra. "“You must be my Lucky Star”: Crítica, agendamento e valor sobre a obra da cantora Madonna na Revista Rolling Stone." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/7973.

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The critical fortune on Madonna's musical production brings out elements that make the speech of journalists in the coverage of cultural affairs. This work concerns the way in which this music criticism in cultural journalism legitimized Madonna especially Rolling Stone magazine. This is a historical process in which the construction of value was being scheduled by the authorities - above all - of cultural journalism. Synthesized Thus, the objectives of this work: to analyze how the Rolling Stone scheduled Madonna's career over its 30 years of existence, in his critical reviews of their albums and performances on tours. Identifies discursive marks related to cultural values undertaken by journalists in treating artist's works. It is understood, therefore, the contradictions of the products presented as Madonna articles endowed with aesthetic connected to the pop culture. Maps the notion of value and how it is used by Rolling Stone for products presented by Madonna.
A fortuna crítica sobre a produção musical de Madonna traz à tona elementos que compõem o discurso dos jornalistas especializados na cobertura de assuntos culturais. Este trabalho diz respeito à maneira com que a crítica musical presente no jornalismo cultural legitimou Madonna em especial a revista Rolling Stone. Trata-se de um processo histórico em que a construção de valor foi sendo agendada pelas instâncias – sobretudo – do jornalismo cultural. Sintetiza-se, assim, os objetivos deste trabalho: analisar como a Revista Rolling Stone agendou a carreira de Madonna ao longo dos seus 30 anos de existência, em suas resenhas críticas dos álbuns e suas performances em turnês. Identifica-se marcas discursivas ligadas a valores empreendidos por jornalistas culturais no tratamento de obras da artista. Entende-se, portanto, as contradições dos produtos apresentados por Madonna enquanto obras dotadas de uma estética ligada à cultura pop. Mapeia-se a noção de valor e como ele é utilizado pela Revista Rolling Stone para os produtos apresentados por Madonna.
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50

Makgato, Kgokologa Saltiel. "The portrayal of sexual abuse in Zakes Mda's the Madonna of Excelsior and J. M. Coetzee's disgrace : a comparative study." Thesis, University of Limpopo, 2010. http://hdl.handle.net/10386/2448.

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Thesis (M.A.(English) --University of Limpopo, 2010.
This dissertation examines the way in which two South African novelists, Zakes Mda and J.M. Coetzee, portray the sexual abuse of women during the apartheid and post-apartheid eras. The two selected novels used in this research are The Madonna of Excelsior (2002) by Mda and Disgrace (2000) by Coetzee. The research, furthermore, analyses the attitudes of the sexual abusers and their victims in both eras as well as examines the effects of socio-economic imbalances that might have prompted the men to sexually abuse women whom they should be offering protection against any form of violence and abuse. The study furthermore identifies and analyses the factors that hinder victims from reporting their sexual abuse to the police. Finally, this dissertation also presents a comparative study of the differences and the similarities between the way the two novelists portray sexual abuse.
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