To see the other types of publications on this topic, follow the link: Maya arts.
Dissertations / Theses on the topic 'Maya arts'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Maya arts.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Bonnafoux, Patrice. "Étude iconographique des céramiques du Classique ancien dans les basses terres mayas." Paris 1, 2008. http://www.theses.fr/2008PA010693.
Full textAbstract:
La question formulée au début de cette thèse porte sur les raisons de l'essor au début du Classique ancien d'une céramique somptuaire aux décors complexes. Du point de vue chronologique, dès le Préclassique récent les peintures murales de San Bartolo (Guatemala) indiquent en effet que le talent artistique et le programme iconographique existaient dans les sociétés mayas des basses terres du Peten. Du point de vue de la décoration céramique, les pièces olmèques provenant d'une région de la côte du Golfe voisine des Mayas témoignent de la précocité de l'innovation déjà au Préclassique moyen. II est donc légitime de se demander pourquoi, dans les basses terres mayas, les décors figuratifs ne sont apparus sur les céramiques qu'à partir du IIe siècle de notre ère. Ou, en d'autres termes, pourquoi les Mayas anciens ont-ils jugé nécessaire, ou utile, à cette époque, d'évoquer sur de simples ustensiles de la vie quotidienne une iconographie complexe exprimant une philosophie, une cosmographie, une vision du monde et des valeurs qui leurs étaient propres ? C'est pour tenter de répondre à cette question que nous proposons une étude de l'iconographie des poteries décorées du Classique ancien. Cette problématique est abordée selon plusieurs angles d'attaque : la nature du complexe culturel classique ancien, son contexte socio-politique dans les basses terres du Classique ancien et le contenu de l'iconographie céramique.
2
Smith, Kaitlan. "Spanish, Nahua, and Maya Narratives on the 1585 Relación Geográfica Map of Santiago Atitlán." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/428.
Full textAbstract:
The 1585 Relación Geográfica Map of Santiago Atitlán, Guatemala gives scholars a rare glimpse of sixteenth- century southern Guatemala. The map displays the use of Spanish, Nahua, and Maya perspectives. The coexistence of indigenous Nahua versus Spanish or European iconographies and narratives is a theme constantly explored in the studies of the Relaciones Geográficas maps. However, the opposition of two different indigenous narratives and iconographies, as well as Spanish, is not. This project examines the convergences and conflicts among these narratives and iconographies as evidenced on the map and in the accompanying text. The individual discussion of each narrative is followed by a critical discussion to provide theoretical and authorial contexts for the map. In effect, this study complicates the view of sixteenth-century Mesoamerican Relaciones Geográficas maps.
3
Broughton, Katherine. "Cuentos de resistencia y supervivencia: Revitalizando la cultura maya a traves del arte publico en Guatemala." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556561584195135.
Full text
4
Reeser, Douglas Carl. "Gardens at Home, Gardens at School: Diet and Food Crop Diversity in Two Q'eqchi' Communities in Southern Belize." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002599.
Full text
5
Arjunan, Dorai Raj. "3D Animation: Creating an Experiential Environment." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-0719104-174201/unrestricted/Arj%20with%20animation%2017KB.pdf.
Full textAbstract:
Thesis (M.F.A.)--East Tennessee State University, 2004.Title from electronic submission form. ETSU ETD database URN: etd-0719104-174201 Includes bibliographical references. Also available via Internet at the UMI web site.
6
Kettunen, Harri J. "Nasal motifs in Maya iconography." Diss., Helsinki : Helsinki University Printing House, 2005. http://ethesis.helsinki.fi/julkaisut/hum/renva/vk/kettunen/.
Full text
7
González, Austria Noguez Liliana. "El arte funerario en el periodo clásico tardío maya: una interpretación del destino de las entidades anímicas después de la muerte." Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/666700.
Full textAbstract:
La presente investigación es acerca del arte funerario relacionado con dos tumbas de
gobernantes mayas del periodo Clásico Tardío, es decir, entre el 600 y 900 d.C. Los
gobernantes son K’ihnich Janaab’ Pakal de Palenque en Chiapas y el otro es Yuhkno’m
Yihch’aak K’ahk’ de Calakmul, en Campeche, ambos sitios en México.
El marco teórico de esta investigación es la cosmovisión, es decir, la manera en que una
cultura aprehende y explica el universo en un momento determinado y en un lugar
determinado de Mesoamérica.
La metodología es la integración plástica de todo el arte funerario relacionado con sus
tumbas, es decir, la arquitectura, escultura, cerámica, pintura, escritura, joyería, etc. También
se aplica el paradigma del Monte Sagrado a cada una de las pirámides que contienen las
tumbas de cada uno de los dos estudios de caso. El objetivo principal es entender el concepto
de la vida y de la composición de la persona y a partir de ellos acercarnos a comprender el
concepto de muerte y qué pasa con las partes intangibles que conformaron a esos gobernantes
después de su fallecimiento. Se plantea que las diferentes almas son encapsuladas por los
descendientes en objetos que le son afines tanto en sentido material como formal.The present investigation is about the funerary art related with two tombs of Maya rulers of the Late Classic period, that is, between 600 to 900 AD. The rulers are K’ihnich Janaab’ Pakal de Palenque in Chiapas and the other is Yuhkno’m Yihch’aak K’ahk’ from Calakmul, in Campeche, both sites in Mexico. The theoretical framework of this research is cosmovision, this mean, the way in which a culture apprehends and explains the universe at a specific moment and in a specific place at Mesoamerica, in this case, in maya culture. The methodology is the ‘plastic integration’ of all the funerary art related to the tombs of two maya rulers: architecture, sculpture, ceramics, painting, writing, jewelry, etc. In this investigation is applied the paradigm of the Sacred Mount to each of the two pyramids that contain the tombs: Temple of the Inscripcions at Palenque and the Structure II at Calakmul. The main objective is to understand the concept of life and the definition of the person and, from there, to get closer to understand the concept of the death and what happens to the intangible parts of the body. It is stated that the different souls are encapsulated by the descendants in objects that are very similar physically and materially.
8
Bardsley, Sandra Eleanor. "Inaugural art of Bird Jaguar IV : rewriting history at Yaxchilan." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26781.
Full textAbstract:
Monumental art of the Maya incorporates figural imagery and hieroglyphic texts to document dynastic and mythical history. One particular monument tells us that near the end of April in 752 A.D., Bird Jaguar IV was inaugurated as ruler of the Mayan city now known as Yaxchilan. Investigation of his sculptural programmes reveals a multiplicity of innovative solutions for Bird Jaguar's unparalleled problems in validating a tenuous claim to rulership of Yaxchilan. It appears that in order to compensate for his insufficient genealogical claim, Bird Jaguar fabricated a series of ritual events which proclaimed his political legitimacy.
This study examines the intended integration of two parallel systems of communication: the visual and hieroglyphic languages of the Maya. Analysis shows how Bird Jaguar's artists presented symbolic references which manipulated the past history, justified the current history, and established the future political history of Yaxchilan.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
9
Huckert, Chantal. "Constellations textiles : la leçon Maya." Paris, EHESS, 1992. http://www.theses.fr/1991EHES0319.
Full textAbstract:
L'objectif de ce travail est d'analyser et interpreter les figures textiles mayas (c'est a dire, les representations de certains decors textiles), de l'epoque classique. Ayant-disparu physiquement, les tissus existent sous la forme de representations sur les monuments et les ceramiques. L'interet est de connaitre la fonction et la signification de leurs decors en tant qu'ils font partie de la representation dans son ensemble. J'ai choisi des exemples qui me permettent d'etudier les figures textiles dans un contexte epigraphique. La these comprend six chapitres organises conformement au reperage et a la classification des figures. Chaque chapitre est centre sur des figures repetees selon un patron specifique. Dans chacun des chapitres j'examine le cas des figures qu'il comprend et les materiaux iconographiques, stela, linteau, ceramique, qui leur sont rattaches. J'analyse ces representations en tant que plan et tableau et je signale les donnees historiques. Par consequent je puis lire ou rapporter les figures aux entites divines, aux toponymes et aux rituels, indiques dans l'iconographie et l'epigraphie correspondantes. Dans la conclusion a chaque fin de chapitre je reprends les resultats des enquetes specifiques et ebauche ce qui constituera un lexique de figures textiles. Une conclusion commune aux six chapitres preconise l'etude particuliere de chaque site de provenanceThis work takes as its central objective the interpretation and analysis of mayan textiles figures (that is, representations of various patterns of textiles), of the classic epoch. Not having survived as actual fabrics, the textiles appear primarily in the form of monumental and ceramic representations. My interest is to know what are the function and the meaning of the textiles figures within the representation as a whole. Have selected examples which permit me to study the figures within an epigraphic context. The dissertation comprises six chapters which are organized according to the location and classification of the figures. Each chapter focuses on designs repeated in a specific pattern. In each one examine the case of the respective figures and the iconographic materials-stela, lintel, ceramic, which pertain to them. Analysed these representations as a plan, as a picture and as an object having historical significance. Consequently am able to read or reference the figures in terms of their relationship to the divines entities, toponymes and rituals, indicated in the iconography and epigraphy to which they correspond. In the conclusion of each chapter review the results of these specific studies and then outline what will constitute a lexicon of textiles figures. A comprehensive conclusion of the six chapters recommend the particular study of each site of provenance
10
Díaz, González Hilda Lucia. "Approche ethno-sémiotique de l'image précolombienne : la gestuelle maya dans le rituel de l'auto-sacrifice." Paris, EHESS, 1993. http://www.theses.fr/1993EHES0083.
Full textAbstract:
L'image precolombienne a ete le sujet de plusieurs formes d'approche, selon divers points de vue et divers interets d'etude. C'est ainsi que l'on a essaye de repondre par des voies differentes, aux nombreuses questions que souleve l'analyse de l'art maya, donnant origine a diverses methodes, utilisees pour la comprehension des images. Nous considerons que pour envisager l'etude de l'imagerie maya et en general de l'image precolombienne, il est important d'avoir une optique pluridisciplinaire qui puisse rendre compte de la complexite des differents elements qui la forment. C'est pourquoi, notre travail se situe a la croisee des apports offerts par l'ethnologie et la semiotique, en ce qui concerne l'etude de l'image, et plus particulierement, l'analyse des gestes dans un contexte code. Ainsi, notre recherche vise a interpreter l'image a partir de sa fonction autonome, c'est-a-dire, a partir des elements qui la constituent, de meme qu'elle envisage d'etudier sa fonction communicative a travers les gestes. Nous etudions la gestuelle des mayas a partir de leurs signifies narratifs, et non a partir d'une description de leurs elements corporels signifiants, en raison du manque d'un systeme de notation adequat, qui nous permettait d'aborder la description du corps humain d'une facon appropriee. C'est pourquoi, le point de depart de notre etude de la gestuelle des mayas est l'etablissement d'une typologie destuelle a partir des signifies narratifs du geste. En outre, ces gestes ont ete analyses selon deux classifications : l'une pragmatique et l'autre symbolique, dansThe study of precolumbian imagery had been developped from different points of view and different points of interest. Consequently, we find different methods that try to explain and to interpretate the images in various ways. We consider that in the comprehension and the interpretation of the precolumbian imagery, in general, and the maya pictorial symbols, in particular, it is necessary to apply a pluridisciplinary approach because of the big complexity of this iconography. Our research is based on the big complexity of this iconography. Our research is based on the contributions of ethnology and semiotics in the interpretation of visual sign, and more particularly on the study of the maya gestures in a code context. Thus, this work focus on the meaning of the maya imagery from its autonomus function, that is, we take account of the co-text that form the visual sign and also the communicatif function. Of the gesture of the fugures. We study the maya gestures from their narrative signification but not from a description of the signifying elements of the body, because we consider that it doesn't exist an adequate system that leads the description of human body in a proper way yet. That's
11
Thackray, Anne. "The Mays of Notre Dame." Thesis, Courtauld Institute of Art (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272103.
Full text
12
Abderhalden, Cortés Rolf. "Mapamundi : Plurivers poïétique : (Mapa Teatro 1984-2014)." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080019/document.
Full textAbstract:
Mapamundi (du latin mappa mundi, « carte du monde », représentation de toute la superficie de la planète.)La Mapamundi, que je présente dans le cadre de cette thèse doctorale, est un essai de configuration poétique de l’étendue du « plurivers » artistique de Mapa Teatro pendant ses trente ans d’existence (1984-2014). Elle est imprimée sur papier et en même temps sur ma peau, inscrite dans la mémoire du corps. Trace physique d’une histoire, marque géographique d’un affect : à la fois pensée du corps et corps d’une pensée.Les cartes qui représentent la superficie de la Terre utilisent une « projection », une manière de traduire la superficie réelle tridimensionnelle d’un géoïde en un dessin bidimensionnel. Une Mapamundi « projetée » en une forme sensible, réflexive, pluriaxiale, qui se distinguerait d’un type d’analyse taxonomique purement « extérieur », mais aussi de tout catalogue intimiste, exclusivement « intérieur », et même de toute archive supposée intégrale, tel est le défi que je tenterai à présent dans la forme Atlas, « projection » conceptuelle et affective, théorique et poétique, de la Mapamundi de Mapa Teatro.L’Atlas est une forme visuelle du savoir, une forme savante du voir (Didi-Huberman).Une cartographie autant chronographique que chronogénétique, parce qu’elle trace un devenir, parce qu’elle ouvre des possibles. La carte (un espace, un dispositif), le témoin (un point de vue, une subjectivité) et le triptyque (un temps, un événement) constituent les trois axes de projection et d’analyse réflexive choisis pour la configuration de cet Atlas : carte (chapitre I), témoin (chapitre II) et triptyque (chapitre III) réunissent et problématisent un ensemble de figures qui traversent la cartographie poïétique de Mapa Teatro depuis sa création jusqu’à ce jour. Une forme de pensée-montageMapamundi (from latin mappa mundi, « world’s map» a representation (a map) of the entire surface of the planet). The Mapamundi, that I here present, under the frame of this doctoral research, is an attempt to draw a poetical configuration of Mapa Teatro’s artistic «plurivers», built up during its thirty years of existence (1984-2014). It is printed on paper, and at the same time on my skin, engraved in my body’s memory. Physical trace of a history, geographical affectionate token: both the thinking of a body and a body of thought. Maps that represent the surface of the earth make use of a « projection », as a way of translating the real three-dimensional surface of a geoids into a two-dimensional basin. This is a «projected» Mapamundi in a sensible, reflective, pluriaxial form, that distinguishes itself not only from a taxonomic analysis, but also from any type of intimate catalogue, exclusively interior, or of any kind of a presumably overall archive. This is the challenge that I have risked in this Atlas form, a conceptual and affective « projection », both theoretical and poetic, of Mapa Teatro’s Mapamundi. An Atlas is a visual form of knowledge, a savant form of seeing (Didi-Huberman).A cartography in as much as it is both chronographic and chronogenetic, because it draws a becoming, because it opens to the possibles. The map (a space, a device), the witness ( a point of view, a subjectivity ) and the triptych ( a time, an event ) have been the three axis of projection and of reflective analysis chosen to shape this Atlas. Map (Chapter I), Witness (Chapter II) and Tryptique (Chapter III) gather and problematize a group of figures that traverse Mapa Teatro’s since its creation to our days. A form of montage-thought
13
Roloff, Bianka Nieckel da Costa. "Jornalismo cultural e megaexposições de artes visuais no Brasil (2010-2016) : mapa de um acontecimento espetacular." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/164228.
Full textAbstract:
Este trabalho investiga a cobertura realizada por jornais de referência brasileiros sobre as megaexposições de artes visuais no país de 2010 a 2016. Parte da perspectiva construcionista, pressupondo que os acontecimentos são a matéria-prima básica da atividade jornalística e que o jornalismo cultural é um lugar especializado de construção de sentidos sobre arte, além de mediador entre esta e os públicos. Lançando mão dos estudos do acontecimento, verificamos quais indícios o jornalismo acionou para cobrir as megaexposições de artes visuais no período de estudo. Foi escolhida a metodologia de Análise de Conteúdo, que, em uma etapa quantitativa, examinou 152 textos sobre seis exposições, e, na fase qualitativa, aprofundou o olhar sobre 20 dessas reportagens. Encontramos uma cobertura que se revela proeminente e mobilizadora de públicos para visitar as exposições. Verificamos que o jornalismo media o ciclo de existência do acontecimento, elaborando sobre ele um mapa de consensos e construindo-o de forma paulatina, em um reiterado roteiro desde a apresentação até o balanço posterior. Concluímos também que as coberturas promovem uma espetacularização das exposições, a partir de uma pré-mediação, oriunda das marcas envolvidas com sua produção, e praticamente apenas reproduzida pelos veículos jornalísticos. As matérias valorizam aspectos como biografias, mobilização de multidões e números e lançam mão de um discurso marcadamente superlativo, buscando recuperar a aura da arte das megaexposições, com forte acionamento de fontes ligadas à produção do evento e pouco espaço de fala aos visitantes.This master thesis digs into the news coverage promoted by important Brazilian newspapers about blockbuster visual arts exhibitions that happened in Brazil between 2010 and 2016. It takes off from a constructionist approach, assuming that the events are the basic raw material of journalistic activity and that cultural journalism is a specialized environment for building senses about art, as well as a mediator between the craft and its publics. With that in mind, putting the event studies into use, we analyzed which evidences journalism triggers to cover the blockbuster art exhibitions in the referred period. For this research, it was chosen the Content Analysis methodology, that, in a quantitative phase, examined 152 texts about six exhibitions and, in the qualitative stage, took a deeper look on 20 of these stories. We found a prominent coverage and able to call on the public to visit the exhibitions. We verified that journalism mediates the cycle of existence of these happenings, gradually drawing over them a map of perceptions, in a repeated script since their initial presentation up to the final reviews. We also concluded that the news coverage promote a spectacularization of the exhibitions, from a pre-mediation role, originated in the brands involved with their production, and basically just reproduced by the journalistic media. The stories highlight aspects such as biographies, ability of driving crowds and event numbers through a clearly superlative speech, reaching to recover the art aura of the blockbuster exhibitions, with strong use of sources connected to the events’ execution and very little space dedicated to reflect the visitors views.
14
Eley, Dikeita N. "Color (Sub)Conscious: African American Women, Authors, and the Color Line in Their Literature." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1486.
Full textAbstract:
Color (sub)Conscious explores the African American female's experience with colorism. Divided into three distinct sections. The first section is a literary analysis of such works as Toni Morrison's The Bluest Eye, Gloria Naylor's The Women of Brewster Place, Maya Angelou's I Know Why the Caged Bird Sings and Alice Walker's "If the Present Looks Like the Past, What Does the Future Look Like?" an essay from her collection In Search of Our Mothers' Gardens. The second section is a research project based on data gathered from 12 African American females willing to share their own experiences and insights on colorism. The final section is a creative non-fiction piece of the author's own personal pain growing up and living with the lasting effects of colorism.
15
Ugliara, Milene Valentir. "Errâncias na metrópole : a experiência do Coletivo Mapa Xilográfico /." São Paulo, 2013. http://hdl.handle.net/11449/111030.
Full textAbstract:
Orientador: Carminda Mendes AndréBanca: Renata Moreira Marques
Banca: Lilian do Amaral Nunes
Material acondicionado em caixa
Resumo: A pesquisa tem como foco a experiência do coletivo artístico Mapa Xilográfico em sua atuação entre 2006 e 2012 na metrópole paulistana e em outras capitais brasileiras e estrangeiras. Buscou-se relatar e analisar as ações do grupo nas diferentes localidades e especificidades junto a uma reflexão sobre a produção do espaço urbano. Diante de uma crítica aos conceitos hegemônicos de urbanização, o Coletivo faz uma espécie de residência artística em determinada localidade e propõe a criação de ―coletivos fluidos‖, que são agrupamentos com moradores locais ao redor de uma proposição poética no espaço vivido. Com o pressuposto de estabelecer aproximações que busquem a autonomia, o grupo propõe a coeducação - relações de trocas de saberes - e a coprodução - produções artísticas de autoria coletiva - no intuito de ativar a experiência e a participação no espaço urbano. O trabalho é apresentado como um livro-obra, em busca de proporcionar ao leitor diversos percursos possíveis entre as imagens, narrativas e conceitos sobre a trajetória do Coletivo
Resumen: La investigación esta centrada en la experiencia del Colectivo Artístico Mapa Xilográfico y en el desarrollo de su actividad entre los años 2006 al 2012 en la metrópoli Paulista, en otras capitales brasileras y extranjeras. Se relataron y analizaron las acciones del grupo en las diferentes regiones con sus especificidades, realizando a su vez una reflección sobre la producción del espacio urbano. Como una crítica a los conceptos hegemónicos de urbanización, el Colectivo realiza una práctica artística en determinados locales y propone la creación de‖colectivos fluídos que son la agrupación de los vecinos del lugar alrededor de una propuesta poética en el espacio de su vivencias. Procurando establecer aproximaciones que busquen la autonomía, el grupo plantea la coeducación - relaciones de intercambio de saberes y - la coproducción - producciones artísticas de autoría colectiva - con el fin de activar la experiencia y participación en el espacio urbano. El trabajo es presentado como un libro-obra, buscando proporcionar a los lectores caminos diversos y posibles entre las imágenes, narrativas y conceptos sobre la trayectoria del Colectivo
Mestre
16
Ugliara, Milene Valentir [UNESP]. "Errâncias na metrópole: a experiência do Coletivo Mapa Xilográfico." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/111030.
Full textAbstract:
Made available in DSpace on 2014-12-02T11:16:51Z (GMT). No. of bitstreams: 0
Previous issue date: 2013-06-28Bitstream added on 2014-12-02T11:21:20Z : No. of bitstreams: 1
000742212.pdf: 1127676 bytes, checksum: 1a55fb718ad204bad2ab4b76ce3e010e (MD5)A pesquisa tem como foco a experiência do coletivo artístico Mapa Xilográfico em sua atuação entre 2006 e 2012 na metrópole paulistana e em outras capitais brasileiras e estrangeiras. Buscou-se relatar e analisar as ações do grupo nas diferentes localidades e especificidades junto a uma reflexão sobre a produção do espaço urbano. Diante de uma crítica aos conceitos hegemônicos de urbanização, o Coletivo faz uma espécie de residência artística em determinada localidade e propõe a criação de ―coletivos fluidos‖, que são agrupamentos com moradores locais ao redor de uma proposição poética no espaço vivido. Com o pressuposto de estabelecer aproximações que busquem a autonomia, o grupo propõe a coeducação - relações de trocas de saberes - e a coprodução - produções artísticas de autoria coletiva - no intuito de ativar a experiência e a participação no espaço urbano. O trabalho é apresentado como um livro-obra, em busca de proporcionar ao leitor diversos percursos possíveis entre as imagens, narrativas e conceitos sobre a trajetória do Coletivo
La investigación esta centrada en la experiencia del Colectivo Artístico Mapa Xilográfico y en el desarrollo de su actividad entre los años 2006 al 2012 en la metrópoli Paulista, en otras capitales brasileras y extranjeras. Se relataron y analizaron las acciones del grupo en las diferentes regiones con sus especificidades, realizando a su vez una reflección sobre la producción del espacio urbano. Como una crítica a los conceptos hegemónicos de urbanización, el Colectivo realiza una práctica artística en determinados locales y propone la creación de‖colectivos fluídos que son la agrupación de los vecinos del lugar alrededor de una propuesta poética en el espacio de su vivencias. Procurando establecer aproximaciones que busquen la autonomía, el grupo plantea la coeducación - relaciones de intercambio de saberes y - la coproducción – producciones artísticas de autoría colectiva – con el fin de activar la experiencia y participación en el espacio urbano. El trabajo es presentado como un libro-obra, buscando proporcionar a los lectores caminos diversos y posibles entre las imágenes, narrativas y conceptos sobre la trayectoria del Colectivo
17
Guerra, Filho Raulito Ramos 1952. "FLORianópolisNOSãojosédosCAMPOS. Na mala, autobiografemas : sonoro, imagético e verbal." [s.n.], 2016. http://repositorio.unicamp.br/jspui/handle/REPOSIP/319222.
Full textAbstract:
Orientador: Adilson Nascimento de JesusA tese está acondicionada em uma mala contendo: Bloco 1: Escada-Prelúdios (Composta de 6 dobras, em papel-cartão, com 7 folhas) com 14 Prelúdios ; Bloco 2: Nove Envelopes-Canções com folhas soltas e Sete Anéis (dentro dos envelopes)
Acompanham duas mídias afixadas na tampa interna da mala com o CD "Fractais Sons" e outra com o DVD "Fractais Imagens"
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-31T04:25:20Z (GMT). No. of bitstreams: 1 GuerraFilho_RaulitoRamos_D.pdf: 28135372 bytes, checksum: 28e841c953fd14dba42d91d7cbf86cb8 (MD5) Previous issue date: 2016
Resumo: O presente estudo objetivou: desnudar, desvelar, desvendar e desventrar a multiplicidade de encontros na composição da obrARtese e (elevado à enésima potência). A composição partiu de 19 canções de minha autoria, gravadas em CD, que se tornaram disparadoras de textos, fotografias, colagens, diagramação, microdocumentário; todos reunidos em uma mala artesanal. Trata-se de um livro de artista-educador, que narra sua trajetória por esses dois universos. O trabalho, inicialmente autobiográfico, torna-se autobiografemático. O processo e a finalização do trabalho ampliaram e potencializaram encontros alegres. Alguns intercessores: Gilles Deleuze, Félix Guattari, Nise da Silveira, Espinosa, Cecíla de Almeida Salles, Silvio Gallo, Paola Zordan
Abstract: Purpose of the present study: undress, disclose, unveil and disembowel the multiplicity of encounters in the composition of the obrARtese e (raised to the enésima power). The composition originated from the 19 songs composed by myself, all of them recorded in CD, which became the starters of texts, photographs, pasting, diagramming, micro documentary; all of them bound in an artisanal bag. It is a book by an educator-artist, which reports his trajectory through these two universes. The work, autobiographical initially, becomes autobiographematical. The work process and finalization increased and strengthened cheerful encounters. Some intercessors: Gilles Deleuze, Félix Guattari, Nise da Silveira, Espinosa, Cecília de Almeida Salles, Silvio Gallo, Paola Zordan
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação
18
Ossant, Héliette. "Les images de Tlaloc et de Chac dans le monde maya "classique" (250-900 ap. J. -C. ) : Antécédents et postérité." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0242.
Full textAbstract:
A travers l’étude des représentations de Tlaloc et de Chac, entités aztèque et maya, au Classique, c’est-à-dire pendant la période III, cette thèse met en évidence la continuité de leurs représentations depuis l’époque I – où nous constatons l’existence d’un proto-Tlaloc et d’un proto-Chac – jusqu’à l’époque V, soit depuis 1200 avant J. -C. Jusqu’à la Conquête en 1519. En fait, nous avons affaire à une double continuité : de représentation et de sens mettant ainsi l’accent sur le rôle structurant des Nahua dans l’ensemble de la Mésoamérique. En effet, le champ sémantique de Tlaloc et de Chac est celui de la demande de pluie, donc de la fertilité ; mais aussi du sacrifice, à travers la dyade « l’eau-le feu », atl-tlachinolli, concept nahua de la guerre sacrificielleBy studying representations of Tlaloc and Chac ; Aztec and Maya entities, during Classic period, period III, this thesis emphasizes continuity of their representation from period I – where we note existence of a proto-Tlaloc and a proto-Chac – to period V. So, from 1200 BC to the Conquest in 1519. We note a double continuity: of representation and of meaning. This continuity shows the structuring role of Nahua in the whole Mesoamerica. The semantic field of Tlaloc and Chac is the request for rain, therefore for fertility; but also for sacrifice: through the union “water-fire”, atl-tlachinolli, Nahua concept of sacrifice’s war
19
Brown, Emilie Sayward. "Bounded Surface." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1331.
Full textAbstract:
The relationship between surface, perception, and structure has occupied my graduate studies. Locating, transforming, and transcending the surface requires play with perceptive abilities not only of vision, but of touch, hearing, and the other senses as well. How do the interactions of sense with the qualities of a surface determine our perception of the world? What role does the extension of the senses play in one's ability to perceive surface and structure? Using sense information gleaned from surfaces, the tectonics of our world are made visible. Might this relationship be played backwards as well? Composed structures produce surfaces upon which limina can be sensed.This written accompaniment to the thesis works is intended to continue the exploration of the surface/ sense/ structure relationship. With the visual work as a basis, each section consists of two parts. This structure is a tool for producing sense information for the viewer concerning the visual work.The first part serves as a bridge between the particular visual work and the second part. Consisting of a page or so of text, the first part of each section is also intended to set a tone or position the reader for the second part. The second part is more formal and speaks about the ideas behind the produced object, and for the most part could be applied to any works in this thesis. My desire is that the adjacency of the pieces in each section will create a friction of sorts an awareness of the surface between the two writings, and perhaps, between the writing and the objects.
20
Marlow, Gregory. "Week 01, Video 08: Maya UI Customization." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/13.
Full text
21
Sullivan, Mark. "The Maya origin of a Mexican god the iconographic primacy of Tezcatlipoca at Chichén Itzá, Yucatan over Tula, Hidalgo; and its possible derivation from God K--K'awil /." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002906.
Full text
22
Breuil-Martinez, Véronique. "Art rupestre en zone maya : l'archéologie des grottes de la zone PUUC." Paris 1, 1993. http://www.theses.fr/1993PA010683.
Full textAbstract:
L'objet de cette thèse est d'étudier l'archéologie des grottes de la zone PUUC (Yucatan, Mexique) à partir de l'analyse d'un corpus de données archéologiques de surface et de fouilles recueillies sur le terrain entre 1986 et 1990. Elle comprend trois grandes parties subdivisées en neuf chapitres. La première partie introductive regroupe une présentation géographique et archéologique de la zone ainsi qu'une historiographie des travaux présentant les réalisations effectuées sur les cavités souterraines. La deuxième partie est consacrée à la présentation et l'analyse des vestiges archéologiques (céramique et autres artefacts, art rupestre et autres vestiges immobiliers). Enfin la troisième partie est consacrée à l'inventaire et aux hypothèses relatives aux différentes fonctions des grottes en mettant l'accent sur les diverses utilisations quotidiennes très peu étudiées jusqu'à présent dans l'aire mayaThis thesis aims the study of the archeology of the caves in the PUUC zone (Yucatan, Mexico) and is based on the analysis of the material collected on surface and in the excavations during 1986 and 1990. It includes 3 main parts divided in nine chapters. The introductive first part contains a geographical and archeological presentation of the area and the previous works concerning caves. The second part is dedicated to the presentation and the analysis of the archeological material (ceramics, artefacts, rocks art, etc). The third part contains the inventory and hypothesis on the various functions of the caves, and especially on the seldom study of its running usages until now in the maya area
23
Santana, Rosângela Maria. "O IMAGINÁRIO EM MAYA DE URSULINO LEÃO." Pontifícia Universidade Católica de Goiás, 2012. http://localhost:8080/tede/handle/tede/3200.
Full textAbstract:
Made available in DSpace on 2016-08-10T11:06:57Z (GMT). No. of bitstreams: 1
ROSANGELA MARIA SANTANA.pdf: 600316 bytes, checksum: 26ad48f3259465d1a74cb315a42185fe (MD5)
Previous issue date: 2012-12-14This dissertation presents an analysis based on a bibliographical research on the imagination/imaginary in the novel Maya, by Ursulino Leão. The novel was written in 1949, when the writer, student of a law course, still very young, volatilized himself into the literary world. The book describes as illusory all feelings present in the novel, which brings an interesting story because of its content of truths, its drama and its human experience. The novel Maya stands out for its structure and narrative technique, the characterization of the characters, its values discussed and questioned and the richness and appropriateness of vocabulary. Imagination, fantasy, sentimentality, the exuberance of emotions and symbolism make the novel a story focused on a vision of the innermost essence of the human being. The study is theoretically based on Gaston Bachelard and Gilbert Durand, when analyzing the imaginary; on C. G. Jung, about the symbolic; and finally on G. Lukacs and M. Bakhtin, about a possible reading of the novel theory.
Esta dissertação apresenta uma análise fundamentada numa pesquisa bibliográfica sobre o imaginário na obra literária Maya, de Ursulino Leão. O romance foi escrito em 1949 quando o escritor, acadêmico do Curso de Direito, ainda muito jovem, se evolava para o mundo literário. A obra descreve como ilusórios todos os sentimentos revelados numa história interessante pelo seu conteúdo de verdades, seu drama e sua experiência humana. Maya se destaca pela sua estrutura e técnica narrativa e pela caracterização das personagens, por seus valores discutidos e questionados e pela riqueza e adequação do vocabulário. A imaginação, a fantasia, o sentimentalismo, a exuberância de emoções e a simbologia o fazem um romance concentrado numa visão da essência mais íntima do ser. O estudo se alicerça teoricamente em Gaston Bachelard e Gilbert Durand, ao analisar o imaginário; em C.G. Jung, a respeito do simbólico; e finalmente em G. Lukács e M. Bakhtin, acerca de uma leitura possível da teoria do romance.
24
Marlow, Gregory. "Week 00, Video 02: Maya Download and Install." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/2.
Full text
25
Marlow, Gregory. "Week 01, Video 02: Maya UI Viewport Navigation." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/7.
Full text
26
Marlow, Gregory. "Week 01, Video 03: Maya UI Manipulation Tools." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/8.
Full text
27
Marlow, Gregory. "Week 01, Video 04: Maya UI Channel Box." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/9.
Full text
28
Marlow, Gregory. "Week 01, Video 07: Maya UI Command Line." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/12.
Full text
29
Rowland, Elden R. "Social Creativity: The Geographic, Virtual, and Artistic Communities of Athens, Ohio." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1308313980.
Full text
30
Vidal, Lorenzo Cristina. "Arte, arquitectura y arqueología en el grupo Ah Canul de la ciudad maya yucateca de Oxkintok /." Oxford : J. and E. Hedges, 1999. http://catalogue.bnf.fr/ark:/12148/cb37092336h.
Full text
31
Ovarlez, Sonia. "Le bleu maya et ses secrets : réactivité indigo-sépiolite et son influence sur la couleur du nanocomposite obtenu : vers l'élaboration de couleurs inspirée du modèle maya." Nice, 2008. http://www.theses.fr/2008NICE4084.
Full textAbstract:
Ce travail de thèse concerne la caractérisation et la compréhension de la réactivité du système sépiolite-indigo. Il vise, d’une part, à l’approfondissement de la connaissance physicochimique du célèbre pigment mésoaméricain « bleu Maya », et d’autre part, à proposer le système sépiolite-indigo comme modèle d’un procédé de fabrication de couleurs à base d’argiles fibreuses et de colorants. Par l’élaboration de nanocomposites hybrides colorés, cette étude s’inscrit dans le domaine, en plein essor, de la « chimie verte » et des matériaux nanocomposites d’origine naturelle. Cette recherche s’inscrit également au cœur d’une polémique entre deux écoles scientifiques étudiant le bleu maya, ‘lune « théorique », l’autre » expérimentale », autour de la localisation de l’indigo « in » dans ou « out » hors des tunnels de l’argile. Aujourd’hui les auteurs s’accordent à dire que les molécules d’indigo ne sont pas situées dans les tunnels de l’argile, mais dans les canaux, après une caractérisation approfondie des matériaux de départ choisis par souci de simplification, à savoir la sépiolite et l’indigo, la mise au point du procédé de fabrication (équilibre-température-durée-concentration) et l’élaboration des échantillons ont été réalisées. L’analyse de ces derniers via différentes techniques (FTIR, ATG, RMN, DRX, MEB/EDS, TOF-SIMS) a permis d’apporter au moins quatre preuves expérimentales de la présence, dans certains cas, profonde de l’indigo dans les tunnels de la sépiolite. Deux types de complexes réversibles ont été mis en évidence. L’un, à température ambiante via l’établissement de liaisons hydrogène et de liaisons de Van Der Waals avec les deux molécules d’eau coordinée de la sépiolite, l’autre à chaud, suite au départ d’une molécule d’eau coordinée. Pour la première fois la réversibilité du système est observée et caractérisée. A ce résultat très original s’ajoute l’ypothèse de l’obtention des verts maya via la photodégradation d’un mélange palygorskites-indigo non cuit. Le savoir-faire acquis lors de ce travail, c’est-à-dire l’encapsulation (introduction, stabilisation et protection) de molécules organiques dans une matrice de sépiolite ou d’attapulgite, nous a permis d’obtenir une large gamme de composites bleus, verts, violets, jaunes et noirs, qui sont le point de départ vers l’élaboration de nouveaux pigments inspirés des matériaux anciensThis work reports on the characterization and understanding of the reactivity of the sepiolite-indigo system. The aim is first, increasing chemical knowledge of the famous maya blue, second proposing the sepiolite-indigo system as a model of color fabrication process based on palygorskites clays and dyes hybrid nanocomposites elaboration is part of the full expansion fields of both green chemical and natural materials research. This work is taking part in a wild polemic debate about the location on indigo molecules, oppositions exist between the theoretical and experimental points of view are the indigo molecules are not in tunnels of the clays ? It is generally agreed today that the indigo molecules are not in tunnels but in the channels of palygorskites clays. So, in this work, after r=the thorough characterization of the raw materials, sepiolite and indigo, the process and sample elaboration have been realized. The process is a slight equilibrium between temperature, time and concentration. The results obtained from various analytical methods (FTIR, ATG, RMN, DRX, MEB/EDS, TOF-SIMS) permit us to bring out at least four experimental proofs concerning the presence of indigo molecules deeply introduced in the tunnels of sepiolite. Two types of temperature dependent complexes were observed. The first were characterized at room temperature, the second were obtained after high temperature treatments when the coordinated water molecule are leaving both are reversible. Hydrogen and Van Der Waals bonds are supposed to be the main complete interactions. These results are quite new and original. It is the first time that the reversibility is observed. Concerning archaeological topic this work propose hypothesis concerning the elaboration of green pigments by the Mayan painters. The photodégradation of an indigo-sepiolite blend is the key point. The experience of introduction, stabilization and protection of organic molecules palygorskites clay matrices allow us to obtain a large range of blue, green, purple, yellow, and black shades. This is the beginning of new color processing made from ancient pigments
32
Marlow, Gregory. "Week 01, Video 01: Maya UI Menu and Shelf." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/6.
Full text
33
Encina, Rodrigo Gonzalo M. "Paisagem-mapa : uma cartografia artística da paisagem urbana." reponame:Repositório Institucional da UnB, 2006. http://repositorio.unb.br/handle/10482/2697.
Full textAbstract:
Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Arte, 2006.Submitted by Kathryn Cardim Araujo (kathryn.cardim@gmail.com) on 2009-12-01T17:24:01Z No. of bitstreams: 0
Rejected by Daniel Ribeiro(daniel@bce.unb.br), reason: Falta arquivo PDF. on 2009-12-04T21:49:01Z (GMT)
Submitted by Kathryn Cardim Araujo (kathryn.cardim@gmail.com) on 2009-12-14T10:38:47Z No. of bitstreams: 1 Dissertacao_Rodrigo Gonzalo.pdf: 11902904 bytes, checksum: 79aa65e7cd67b0ed2abef41bc2df55fb (MD5)
Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2009-12-14T14:09:55Z (GMT) No. of bitstreams: 1 Dissertacao_Rodrigo Gonzalo.pdf: 11902904 bytes, checksum: 79aa65e7cd67b0ed2abef41bc2df55fb (MD5)
Made available in DSpace on 2009-12-14T14:09:55Z (GMT). No. of bitstreams: 1 Dissertacao_Rodrigo Gonzalo.pdf: 11902904 bytes, checksum: 79aa65e7cd67b0ed2abef41bc2df55fb (MD5) Previous issue date: 2006-12-18
Hoje, diante de uma cidade cada vez mais dinâmica e mais plural e em meio ao surgimento de novas linguagens e suas sobreposições no campo ampliado da arte contemporânea, vivemos o desafio de, por meio de uma nova abordagem artística, procurar novos lugares para a obra de arte que se ocupa da paisagem urbana, ainda que estes lugares não constituam territórios fixos e estratificados para a arte. A procura de lugar para a paisagem urbana é também a procura do sentido da paisagem contemporânea. Torna-se mais presente a necessidade de se reinventar a localização da paisagem contemporânea, e cremos que, para tanto, a existência viva e plural dos espaços urbanos e suas escalas se apresentam hoje como um campo ideal para uma nova experiência estética. Essa procura deverá dar-se, necessariamente, por meio de uma nova percepção para a paisagem urbana, em campos artísticos pouco explorados e por meio de abordagens para o fazer artístico conscientes das latências históricas, sociopolíticas, culturais e urbanísticas que tensionam as cidades e seus espaços públicos. A paisagem contemporânea é o mapa do múltiplo da paisagem urbana, e vamos propor que se trabalhe na construção de poéticas que lancem um olhar crítico e transformador sobre esta realidade urbana. ______________________________________________________________________________________________________ ABSTRACT
Nowadays, we are facing more and more dynamic and plural cities, in the midst of the arising of new languages and their superposition in the amplified field of contemporary art. By a new artistic approach, we live the challenge of searching for new places to the work of art concerned to the urban landscape, although these places do not constitute fixed and stratified territories for art. The search for a place to the urban landscape is also the search for the sense of contemporary landscape. It becomes urgent the need to recreate a place to contemporary landscape. In order to do that, we think that the plural existence of urban spaces and their scales are, nowadays, an ideal field to a new esthetic experience. This search will occur, necessarily, by a new perception about the urban landscape, in artistic fields little explored, and by an approach to the work in art which is aware of the historical, socio-political, cultural and urbane tension in the city and its public spaces. The contemporary landscape is the map of the multiplicity of the urban landscape, and we propose to work in the construction of poetics that looks at this urban reality with a critical and transforming eye.
34
Holston, Jan Alexia. "A theory of African-American archetypes: big mama and the whistlin' woman." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2010. http://digitalcommons.auctr.edu/dissertations/201.
Full textAbstract:
This study introduces a literary Theory of African-American Archetypes, which is an outgrowth of two parent theories, Archetypal Criticism and African-American Literary Criticism. The theory posits that the folklore of Africana peoples created and inform culturally specific archetypes, which are deeply seeded in the collective unconscious of many African Americans. As in life, such archetypes are prevalent in African-American literature, which is momentous because they are both historic and perpetual within the community. The African-American Archetypal Big Mama is the character that will be used to demonstrate the theory as a viable form of literary criticism, using Gloria Naylor’s Mama day. Examination of her opposite, the Whistlin’ Woman, in Tina McElroy Ansa’s Ugly Ways and Taking After Mudear will substantiate and define the African-American Archetypal Big Mama by negation. Elucidation and application of the theory to African American literature are significant because they widen the criticism particularly for texts by and for African Americans. Additionally, the application opens the doors for critics of multi-ethnic literature to examine their own cultural idiosyncrasies and subsequent lore for archetypes explicit to their literary traditions.
35
Cecato, Patricia. "N?o se mata Pintassilgos e outros textos curtos para teatro." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2016. http://tede2.pucrs.br/tede2/handle/tede/6659.
Full textAbstract:
Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-05-10T13:16:38Z
No. of bitstreams: 1
DIS_PATRICIA_CECATO_COMPLETO.pdf: 856454 bytes, checksum: 52f52be71256f86762638d12ef3c8401 (MD5)Made available in DSpace on 2016-05-10T13:16:38Z (GMT). No. of bitstreams: 1 DIS_PATRICIA_CECATO_COMPLETO.pdf: 856454 bytes, checksum: 52f52be71256f86762638d12ef3c8401 (MD5) Previous issue date: 2016-01-07
N?o se mata pintassilgos e outros textos curtos para teatro (Do not kill goldfinches and other short texts for theater), aims to be a source of information for the practice of dramatic text in its various languages and for its various destinations: theater productions, theater classes, scripts and acting classes for camera, movies, and auditions for actors. The dramatic text, as in cases of fictional literature, essentially needs a character, a plot, a conflict, language, a dramatic curve and its own worldview. Where to find texts that meet all of these criteria and that are agile and brief? By integrating theoretical concepts with the dramatic production, the book allows not only the artistic use of the text, as well as its didactic use in the classroom. In Do not kill goldfinches and other short texts for theater; we can find concepts, arguments, considerations and aspects of both aesthetic and practical short texts in one specific work to that genre. This work will fill a gap in the research material for short texts for theater and will be a source to which students and theater professionals can rely on in several occasions that come up in an artist?s journey. In this book, you will find short narratives of dramatic situations essential for the technical and emotional experiences necessary for the interpretation of the text as the basis for the actor's performance and construction of the scene. The text is divided in scenes, dialogues, monologues, poetic prose, memoirs and mini texts. This division in categories will be used as means of simplifying the search according to the intention for the use of each text.
N?o se mata pintassilgos e outros textos curtos para teatro, pretende ser uma fonte de consulta para a pr?tica do texto dram?tico em suas variadas linguagens e para os seus variados destinos: montagens teatrais, classes de teatro, roteiros para o v?deo e classes de interpreta??o para o v?deo, cinema, testes e audi??es para atores. O texto dram?tico, como nos casos da literatura de fic??o, necessita, essencialmente, de personagem, trama, conflito, linguagem, curva dram?tica e vis?o de mundo. Onde encontrar textos que atendam a todas estas finalidades e que sejam ?geis e sint?ticos? Ao integrar os conceitos te?ricos com a produ??o dram?tica, a obra possibilita, n?o somente o uso art?stico do texto, como seu uso did?tico em sala de aula. Em N?o se mata pintassilgos e outros textos curtos para teatro, encontra-se conceitos, argumentos, considera??es e aspectos tanto est?ticos quanto pr?ticos do texto curto reunidos numa mesma obra espec?fica ao g?nero. A obra vem preencher uma lacuna no material de pesquisa em textos curtos para teatro e ser uma fonte ? qual os estudantes e profissionais do teatro podem recorrer em v?rias oportunidades que irrompem em sua trajet?ria do artista. Nesta obra, o que se vai encontrar s?o narrativas curtas de situa??es dram?ticas essenciais ?s experimenta??es t?cnicas e emocionais necess?rias ? interpreta??o do texto como base para a performance do ator e ? constru??o da cena. Os textos da obra est?o divididos entre cenas, di?logos, mon?logos, prosas po?ticas, mem?rias e mini textos. As classifica??es em categorias, dos diferentes textos, s?o empregadas, na obra, como m?todo simplificador de busca de acordo com as pretens?es de uso dos textos.
36
Arrufat, Pujol Carmen. "Arte contemporáneo y educación artística en la escuela infantil. Mapa de tensiones y posibilidades." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668215.
Full textAbstract:
Esta investigación indaga sobre cómo se está introduciendo el arte contemporáneo en la escuela infantil a partir del análisis de artículos publicados en tres revistas educativas de carácter divulgativo. Mediante un análisis discursivo de los artículos de educación artística se pretende describir una serie de tensiones entendiéndolas como marcas que señalan aspectos sobre los que es necesario reflexionar y que invitan a un cuestionamiento de las narrativas educativas implicadas. Las revistas, en especial los artículos que describen experiencias de aula, tienden a invisibilizar problemáticas como las modas educativas, el reducido espectro de artistas utilizados en las escuelas, el rechazo hacia el arte contemporáneo, las desigualdades jerárquicas que se ocasionan cuando artistas o instituciones culturales participan en las prácticas, la orientación mimética que adoptan muchas de ellas, etc. La reflexión sobre estas problemáticas constituye el núcleo de la investigación y pretende posibilitar una comprensión conceptual y contextual de las mismas que contribuya a que el arte contemporáneo en la escuela infantil se incorpore con un sentido educativo fundamentado.Aquesta investigació indaga sobre com s'està introduint l'art contemporani a l'escola infantil a partir de l'anàlisi d'articles publicats en tres revistes educatives de caràcter divulgatiu. Mitjançant una anàlisi discursiu dels articles d'educació artística es pretén descriure una sèrie de tensions entenent-les com a marques que assenyalen aspectes sobre els quals cal reflexionar i que conviden a un qüestionament de les narratives educatives implicades. Les revistes, en especial els articles que descriuen experiències d'aula, tendeixen a invisibilitzar problemàtiques com les modes educatives, el reduït espectre d'artistes utilitzats a les escoles, el rebuig a l'art contemporani, les desigualtats jeràrquiques que s'ocasionen quan artistes o institucions culturals participen en les pràctiques, l'orientació mimètica que adopten moltes d'elles, etc. La reflexió sobre aquestes problemàtiques constitueix el nucli de la investigació i pretén possibilitar una comprensió conceptual i contextual de les mateixes que contribueixi a que l'art contemporani a l'escola infantil s'incorpori amb un sentit educatiu fonamentat.
This research investigates how contemporary art is being introduced in the infant school from the analysis of articles published in three informative educational journals. Through Content Analysis it is intended to describe a series of tensions, understanding them as marks that invite us to reflect and to question the educational narratives involved. Educational Journals, especially articles that describe classroom experiences, tend to ignore problematic issues as educational fashions, the narrow spectrum of artists used in schools, the common rejection towards contemporary art, the hierarchical inequalities that occur when artists or cultural institutions participate in the practices, the mimetic orientation that many of the practices adopt, etc. The reflection on these problems constitutes the core of the present research and aims to enable a conceptual and contextual understanding that contributes to incorporate contemporary art in infant school with a grounded educational sense.
37
Keener, Candis Michelle. "The Baby Jaguar Series a comparative analysis /." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1259607927.
Full textAbstract:
Thesis (M.A.)--Kent State University, 2009.Title from PDF t.p. (viewed April 22, 2010). Advisor: Fred Smith. Keywords: Baby Jaguar; Chaak; Maya ceramic painting; Yum Cimil; Codex Vessels. Includes bibliographical references (p. 86-90).
38
Gumbi, Bandile. "What do the videos of Thando Mama Communicate? - As a Black Contemporary Artist in South Africa." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23348.
Full textAbstract:
This paper aims to discuss the video art work of Thando Mama as an example of a black South African video artist. It takes in mind the reality that video art in South Africa has high entrance barriers due to the technological knowledge resources needed to practice thus becomes an elite art. The paper also contextualises video art within its historical practice as an avant garde art as well as its social development usage. Mama's videos are a tool to communicate identity issues as represented in contemporary art with a particular focus on the South African experience.
39
Marlow, Gregory. "Week 01, Video 05: Maya UI Attribute and Layer Editors." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/10.
Full text
40
Alsarhan, Jawaher. "Gender and Racial Empowerment in Selected Works of Maya Angelou." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2019. http://digitalcommons.auctr.edu/cauetds/162.
Full textAbstract:
This study examines Maya Angelou as a powerful African-American woman in the twentieth century who impacted generations of African Americans. Her biographies and selected works speak strongly and wisely about gender and racial empowerment. This empowerment was sown in her childhood and could be traced throughout her life. It is also a fact that seldom does the realization of one’s race and gender take place at such an early age as with Maya Angelou. She was highly marginalized not only in terms of gender but also in terms of race with acute consciousness.
41
Marlow, Gregory. "Week 01, Video 06: Maya UI Time Slider and Range Slider." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/11.
Full text
42
Freese, Lauren Marie. "Frida Kahlo and Chicana self-portraiture: Maya Gonzalez, Yreina D. Cervantez, and Cecilia Alvarez." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2496.
Full text
43
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.
Full textAbstract:
Made available in DSpace on 2016-04-26T18:15:43Z (GMT). No. of bitstreams: 1
Viviane Menna Barreto.pdf: 8979804 bytes, checksum: af1549162d959e159317e7485af34d73 (MD5)
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
44
Saragas, Aliki. "Documenting trauma : an analysis of the construction of traumatic collective memory in the first and last scenes of the documentary, Mama Marikana." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13762.
Full textAbstract:
On 16 August 2012, the South African Police Service opened fire on rock-drill operators who had gone on a wildcat strike demanding a living wage of R12500, at the Lonmin Platinum mine in Marikana. Thirty-four mineworkers were left dead, seventy-eight were wounded and over two hundred and fifty were arrested. The shooting on 16 August was dubbed the ‘Marikana Massacre’, and has been compared to the lethal use of force during the Sharpeville massacre in 1960 (South African History Online, “Marikana Massacre 16 August 2012”). The documentary by Rehad Desai, Miners Shot Down has made a valuable contribution to balancing media representation of the events and the mineworkers’ perspectives, but to date the media has neglected to adequately engage with the plight of the widows and other women left behind in Marikana after the massacre. In reaction to the neglect and marginalisation that they experienced the women of the community formed the Marikana Women’s Organisation, Sikhala Sonke, in Wonderkop near Marikana. ! My film, Mama Marikana, aims to give a voice to the women of Marikana: the widows, mothers, sisters and community members left behind and forgotten by society after the Marikana massacre. It takes a look behind the miners’ story as five Marikana women struggle to move from a space of oppression to a space of empowerment. The film exposes a personal account of how women fight within a traumatised space: through the growth of the women’s organisation, Sikhala Sonke, one member’s rise to Parliament, personal sacrifices for the community and the empowerment of victims. The cinema of memory culminates at the intersection of history, documentary and cinema (Rabinowitz 120). By combining film with memory, and their multidimensional dreamlike “aura of insubstantiality” (MacDougal 29), documentaries can be involved in collective memory transmission in order to break officially imposed silences and contribute to different interpretations of history (Waterson 51). This study analyses how the montage editing of certain conventions of documentary filmmaking present in the first and last scene of my masters documentary Mama Marikana, transform it into a cinema of memory that allows for the transmission of a social, collective memory that can endure over time (Waterson 51). Previous work has failed to present how a structural analysis of montage editing and juxtaposition of conventions associated with the documentary form can transform a documentary into a cinema of memory. This research and my ! 5! documentary, Mama Marikana, attempt to create an alternative discourse on the role of memory creation within the traumatised and gendered space of Marikana. Using the concept of “cinema as language” (Carrol 1) and a qualitative structural analysis approach, the montage editing in the first and last scenes of Mama Marikana will be evaluated. Documentary conventions that will be considered include testimony (interviews with the widows and women of Sikhala Sonke Women’s Organisation), reenactment (a play in which the women act out their memories and interpretations of the massacre that took place on 16 August 2012), cinéma vérité footage [of the audience (male mineworkers) watching the women perform the play at the Marikana Commemoration Rally 2014] and archive footage (of the massacre that took place on 16 August 2012 and its aftermath). The research and film, Mama Marikana aim to provide a space where the women’s stories can be told and their voices heard. This includes the potential to make the personal political and to break official silences of traumatised spaces through the transmission of individual testimony into a social collective memory, where the film itself becomes an event/ memory performing its own meanings (Waterson 65). The combination of these documentary conventions allow the telling of an untold story that engages with subaltern voices in a liminal space trapped in traumatic history.
45
Egan, Rachel K. "New perspectives on the quatrefoil in classic Maya iconography the center and the portal." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4759.
Full textAbstract:
The quatrefoil is a pan-Mesoamerican symbol with considerable time-depth. For the Maya, use of the symbol peaked during the Classic Period, reaching its highest frequency and largest geographical spread. Consequently, understanding its meaning has the potential to illuminate information about Precolumbian Maya worldview. While there have been several studies that focus on Preclassic Period quatrefoils, a similar study is lacking for Classic Period. Furthermore, the evaluations of the quatrefoil that do exist for the Classic Period are limited, often focusing on a select few examples. This thesis attempts to rectify the gap in extant research through an examination of the quatrefoil motif utilized by the Classic Period Maya. Specifically, the goal of the thesis was to determine whether the current interpretation of the quatrefoil as a cave is and also to investigate how the symbol communicated broader ideas about worldview and ideology. The approach that was utilized focuses on both archaeological and iconographic contexts. As an iconographic symbol, I attempt to understand the quatrefoil through the use of semiotics with particular emphasis on contextualization and analogy. The results of this study suggest that, while there were some patterns related to spatial distribution, the meaning of the quatrefoil motif was dependent on context and had considerable variations. I conclude that the analysis of the symbol, when based on specific usages and contexts, reveals that there is not enough evidence to support the current interpretation of quatrefoil as cave. Rather, the quatrefoil can be more accurately interpreted as a cosmogram that delineated information about how the Maya conceptualized, ordered, and accessed space that was appropriated by elites to reinforce and even legitimize political authority.ID: 030646206; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Error in paging: p. 213 followed by p. 190-205.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references.
M.A.
Masters
Anthropology
Sciences
Anthropology
46
Josephson, Codi Lea. "Mama said sew: stitched samplers, contemporary art and domestic craft." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/827.
Full textAbstract:
My interest in the history of craft as it relates to women and craft in the context of contemporary art led to a more specific personal curiosity about colonial stitched samplers. The incredible skill and patience young colonial stitchers exhibited, layered with the revelatory nature of stitched samplers, sparked a desire to understand them more thoroughly. This thesis is a hybrid product that includes both writing and research about my interest in colonial stitched samplers, craft and contemporary art, as well as ongoing work on three stitched samplers inspired by both colonial schoolgirl samplers and contemporary artists whose work builds upon the tradition of the stitched sampler.
47
Melo, Ramon Rodrigues. "Mapa de identificação dos requisitos de projeto de produtos industriais para usuários idosos." Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/2010.
Full textAbstract:
Made available in DSpace on 2016-12-12T20:17:53Z (GMT). No. of bitstreams: 1
112939.pdf: 1139954 bytes, checksum: 021348f944203252e744019ba352845a (MD5)
Previous issue date: 2013-07-30Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A presente dissertação aborda as habilidades humanas necessárias para uma eficaz interação com os produtos, com foco no universo dos usuários idosos e suas limitações. Investiga as principais características demandadas por usuários idosos, buscando tornar mais eficiente o projeto industrial para a produção de artefatos que possibilitem uma melhor interação com esses consumidores. Estuda de que forma se pode facilitar a identificação das características dos produtos industriais que proporcionem uma usabilidade que não exclua o consumidor idoso. Propõe a criação de um mapa para auxiliar o início do processo de identificação dos requisitos de projeto, considerando as limitações típicas dos usuários com idades avançadas, o que permite uma antecipação dos possíveis entraves no uso do artefato. Essa identificação é feita por meio da categorização dos movimentos e habilidades necessárias para o manuseio dos dispositivos industriais, buscando facilitar a visualização, pelo desenvolvedor, das usuais dificuldades encontradas por consumidores idosos. Alicerçado pela opinião de designers industriais, estima-se a provável eficiência da sistemática proposta na tarefa de identificação dos requisitos do produto, tendo por base as características e limitações de usuários idosos.
48
Farber, Michelle Ann. "Octavia." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/89056.
Full textAbstract:
Octavia is a 3D animated story based on experiences of Army divers in the waters of Southeast Asia. I built a strong core set of skills in end-to-end 3D animation throughout my time in the graduate program, and I wanted to incorporate them into a real story for this thesis. The myriad of stories I grew up with inspired the development of this 3D animation due to their uniqueness and their nature as a verbal history.
This thesis is based on two objectives: technical excellence in the process of 3D animation, and sharing a previously verbal history to a larger audience. I achieved these goals using a variety of technical animation tools including ZBrush, Maya, Arnold, and Premier. Octavia itself is a modified story from my father's time diving in South Korea. The story details the interactions between an exceptionally curious octopus, Octavia, and a diver, taken from Octavia's perspective. The animation was well received during my defense for its technical difficulty and unique art styles. Octavia will be available online on my website.Master of Fine Arts
49
Almeida, Edilene Maria Oliveira de. "Atlas Linguístico da Mata Sul de Pernambuco." Universidade Federal da Paraíba, 2009. http://tede.biblioteca.ufpb.br:8080/handle/tede/6307.
Full textAbstract:
Made available in DSpace on 2015-05-14T12:40:05Z (GMT). No. of bitstreams: 1
arquivototal.pdf: 1387991 bytes, checksum: 33a7798b3bc3b8665632269c90593b57 (MD5)
Previous issue date: 2009-10-08Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The Linguistic Atlas of the Mata Sul de Pernambuco-Almaspe has as objective the description of the linguistic reality of the Portuguese language in Pernambuco s Mata Sul in the semantic-lexical aspect, showing the characteristics and linguistical differences in the region, offering not only to the teachers but also, lexicographs, grammar teachers and book authors, important data to the knowledge of the language, its production and teaching. To achieve its objectives an ample bibliographic research took place in different directions, what made it possible to show the most relevant contributions of old and today s dialectologists, without forgetting the political-cultural context of Brazil, in different times. The field research was based in the methodological-theoretical principles of the Geolingustics, with the delimitation of the corpus, network of points, historical profile of the cities researched, inquirers, informants, questionnaire, interviews, presentation of maps. The maps show the diatopic, diastric, diageracional and diagenerical variations, that make a pluridimentional Linguistic Atlas. In the final considerations synthetic recapitulations of the results, of the discussion and of the study were made. The linguistic Atlas of The Mata Sul de Pernambuco-Almaspe, is composed of one volume that comprehends the history of Pernambuco, in highlights the history of Mata Sul, the theoretical fundaments, the methodology, lexical letters, conclusion, references and annexes.
O Atlas Linguístico da Mata Sul de Pernambuco-Almaspe tem como objetivo a descrição da realidade linguística da língua portuguesa na Mata Sul Pernambucana no aspecto semântico-lexical, mostrando as características de diferenciações linguísticas na região, oferecendo não só aos professores, lexicógrafos, gramáticos e autores de livros didáticos, dados importantes para o conhecimento da língua, sua produção e seu ensino. Para sua confecção, foi realizada uma ampla pesquisa bibliográfica em diferentes direções, o que nos possibilitou mostrar as mais relevantes contribuições de dialetólogos antigos e atuais, sem esquecer o contexto político-cultural do Brasil, nas diferentes épocas. A pesquisa de campo baseou-se nos princípios teórico-metodológicos da Geolinguística, com a delimitação do corpus, rede de pontos, perfil histórico dos municípios investigados, inquiridores, informantes, questionário, entrevistas, apresentação das cartas. As cartas mostram as variações diatópicas, diastráticas, diacrônicas, diageracionais e diagenéricas, constituindo-se, assim, num Atlas Linguístico Pluridimensional. Nas considerações finais foram feitas as recapitulações sintéticas dos resultados e da discussão do estudo e pesquisa. O Atlas Linguístico da Mata Sul de Pernambuco-Almaspe, compõe-se de um volume compreendendo o histórico de Pernambuco, destacando o histórico da Mata Sul, a fundamentação teórica, a metodologia, as cartas léxicas, conclusão, referências e anexo.
50
Plessiet, Cédric. "Artiste, ordinateur et spectateur : pour l'émergence d'une création interactive et autonome en art numérique." Paris 8, 2007. http://www.theses.fr/2007PA083098.
Full textAbstract:
Dans la présente thèse, après avoir remarqué que les deux caractéristiques majeures de l'image numérique sont les facultés à être programmable et à être interactive, nous émettons l'hypothèse que l'interactivité pouvait dépasser le simple schéma action / réaction "presse-bouton", pour atteindre une forme de dialogue entre le créateur, l'ordinateur, et le spectateur. Ceci crée un "nouveau triangle créatif" fruit de leur collaboration, et ainsi faire émerger une nouvelle œuvre artistique. Cette thèse à la fois théorique et pratique est divisée en trois chapitres, deux chapitres "théoriques" ("1. L'ordinateur, un outil d'expression artistique" et "2. Simuler la vie, simuler une réalité"), et un chapitre "3. Réalisation" qui décrit un certain nombre de nos installations, film en image de synthèses et programmes. Le premier chapitre, intitulé "L'ordinateur dans le processus créatif" procède à un état de l'art de la question de la position de l'ordinateur dans le processus créatif. Le second chapitre, "Simuler la vie, simuler une réalité", s'intéresse aux capacités de simulation et d'immersion de l'ordinateur. Le dernier chapitre "Réalisations", traite de l'ensemble de notre pratique autour des trois axes qui la structurent : l'interaction, l'autonomie et la collaboration entre le créateur, le public et le programmeIn the present thesis, after having noticed that the two major characteristics of the digital image are faculties with being programmable and being interactive, we put forth the assumption that the interactivity could exceed the diagram the simple diagram action/reaction, to reach a form of dialogue between the creator, the computer, and the spectator. This creates a "new creative triangle"fruit of their collaboration, and thus to make emerge a new artistic work. This thesis at the same time theoretical and practical is divided into three chapters, two theorical chapters ("1. The computer, an artistic tool of expression" and "2. To simulate the life, to simulate a reality"), and a chapter "3. Work" which describes a certain number of our installations, film in synthesized image and programs. The first chapter, heading "the computer in the creative process" proceeds in a state of the art of the question of the position of the computer in the creative process. In the second chapter, "To simulate the life, to simulate a reality", we are interested in the simulation and immersion capacities of the computer. The final chapter of this thesis of research, "Work", dealt with the whole of our practice around the three axes which structure it: the interaction, autonomy and collaboration between the creator, the public and the program