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Dissertations / Theses on the topic 'National characteristics, German, in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Allevato, Frank. "Constructing identities and defining the nation Germany since 1949 /." Morgantown, W. Va. : [West Virginia University Libraries], 1998. http://etd.wvu.edu/templates/showETD.cfm?recnum=334.

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Thesis (M.A.)--West Virginia University, 1998.
Title from document title page. Document formatted into pages; contains viii, 112 p. Includes abstract. Includes bibliographical references (p. 106-112).

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2

Mueller, Ulrike Anne. "White Germanness, German whiteness : race, nation and identity /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3095265.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 254-273). Also available for download via the World Wide Web; free to University of Oregon users.

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3

Doukas, Emmanuel. "Modern art, criticism and the politics of national identity in Germany, 1890-1914." Thesis, University of Essex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361036.

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4

Albu, Stefana Maria. "What is German? : migrating identities in Turkish-German literature : an analysis of cultural Influences on German national identity /." Norton, Mass. : Wheaton College, 2010. http://hdl.handle.net/10090/15117.

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5

Frietsch, Elke. ""Kulturproblem Frau" Weiblichkeitsbilder in der Kunst des Nationalsozialismus /." Köln : Böhlau, 2006. http://catalog.hathitrust.org/api/volumes/oclc/71712948.html.

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6

Valenzuela-Sliger, Jennifer R. "Imaging the other representations of national identity in Mexican modern art /." abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1442866.

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7

Bauman, Emily. "Die Kunst in der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459438626.

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8

Kurzwelly, Jonatan. "Being German and being Paraguayan in Nueva Germania : arguing for 'contextual epistemic permissibility' and 'methodological complementarity'." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/12180.

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This thesis involves a collaborative study of emic articulations and quotidian ways of ‘being German' and ‘being Paraguayan' in Nueva Germania, a rural municipality in Paraguay. An argument is made that the social categories focused upon during this thesis, were evoked according to different contexts. While many claimed that Germanness or Paraguayanness were key categories, essentialistic characteristics that defined them and others as people of a certain kind, in other situations these social divisions were disregarded or even contradicted. This leads me to the theoretical conclusion that social categories, and epistemic frameworks more broadly, should not be understood as universally relevant or as universally applicable, and should not be treated as such. The thesis therefore proposes to assume ‘contextual epistemic permissibility' as a key axiom for use within anthropology and in the wider social sciences. The possible theoretical and methodological consequences of such an assumption are elaborated upon. Different theories of self, social action, and agency are debated in the course of this thesis: it is asked which might best analytically accommodate the assumption of contextual epistemic permissibility. Furthermore, in order to reflect the multiplicity of emic epistemic frameworks, the thesis proposes that a notion of ‘analytical and representative complementarity' be introduced, rather than monistic theoretical models. Such complementarity is practised in the thesis through the use of different multiscalar analyses (for example, the use of different theories of nationalism), and through the simultaneous use of different forms of representation. The above theoretical divagations are intertwined and related to the individual stories of twelve people from Nueva Germania, and are presented with both textual and photographic means. The stories were created through a collaborative process. Each project participant was free to decide upon the subject of their account, and therefore the resulting stories are able to cover a variety of different themes, at the same time introducing the reader to individual histories, struggles, opinions, plans, and critiques. Some elements of these accounts directly relate to the theoretical debates focused upon within the thesis while other elements of the individual stories are left to speak for themselves, and for the reader to make sense of independently. The photographs and texts, in their intertextual presentation, allow for an embodiment of the argument concerning representational complementarity.

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9

Perez, Jeannine Salome Richard A. "A cross-national study of child art comparing for universal and culturally influenced characteristics /." Normal, Ill. Illinois State University, 1993. http://wwwlib.umi.com/cr/ilstu/fullcit?p9411043.

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Thesis (Ed. D.)--Illinois State University, 1993.
Title from title page screen, viewed February 24, 2006. Dissertation Committee: Richard A. Salome (chair), Frances Anderson, William Rau, Marilyn Newby, Thomas Malone, Barry Moore. Includes bibliographical references (leaves 73-77) and abstract. Also available in print.

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10

Steneck, Nicholas John. "Everybody has a chance civil defense and the creation of cold war West German identity, 1950-1968 /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1124210518.

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11

Anderson, Kerry F. "Defining Destinations: Tourism's Relation to East German Identity Before and After Reunification." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1213723865.

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12

French, Rebecca S. C. "The devil in disguise : a comparative study of Thomas Mann's "Doktor Faustus" (1947 and Klaus Mann's "Mephisto" (1936, focussing on the role of art as an allegory of the rise and fall of Nazi Germany /." Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1634/.

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13

McIntyre, Sophie. "Imagining Taiwan : the making and the museological representation of art in Taiwan's quest for identity (1987-2010)." Phd thesis, Australian National University, 2012. http://hdl.handle.net/1885/155980.

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This thesis probes and analyses the critical role of art in the shaping of Taiwan's national identity during the period 1987-2010. With the rise of democratisation and national identity consciousness (bentu yishi), Taiwan's quest for national identity intensified after the lifting of martial law in 1987. The thesis challenges the view that art has played an inconsequential role in this identity discourse by demonstrating that artists, curators and art museums have significantly contributed towards the processes of identity formation, particularly during the peak period of the early-mid 1990s. Focusing on the nature and extent of the contribution of artists, curators and art museums to Taiwan's quest for identity, the thesis explores how national identity narratives were imagined, interpreted, projected and transmitted, nationally and internationally, through the production, selection and exhibition of art from Taiwan. Structurally, the thesis contextualizes each socio-political period, providing the backdrop for a series of case studies. These demonstrate how artists, curators and art museums became active agents in the processes of national identity formation, not only promoting but also critiquing and contesting identity narratives revolving around the concept of a 'Taiwan nation'. Given that national identities are relational and fluid constructs, the thesis reveals how identity discourses in art had diminished in significance by the early twenty-first century when globalisation, the rise of China, and art market forces transformed identity discourses in art from a Taiwan-centred narrative into one embracing not only regional and global perspectives but, most critically, dialogue and exchange with China.

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14

Miller, Jennifer Anne. "The Politics of Nazi Art: The Portrayal of Women in Nazi Painting." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5157.

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The study of Nazi art as an historical document provided an effective measure of Nazi political platform and social policy. Because the ideology of the Third Reich is represented within Nazi art itself, it is useful to have a good understanding of the politics and ideology, surrounding the German art world at the time. Women were used in this study as an exemplification of Nazi art. This study uses the subject of women in Nazi painting, to show how the ideology is represented within the art work itself. It was first necessary to understand the fervorent "cleansing" of the German art world initiated by the Nazis. The Nazis too effectively stamped out all forms of professional art criticism, and virtually changed the function of the art critic to art editor. The nazification of the German artist was "necessary" in order for the Nazis to enjoy total control over the creation of German art. With these three steps taken in the "cleansing" of the German art world, the Nazis made sure that the creation of a "true" Germanic art would go forth completely unhindered. In order to comprehend the subject of Nazi art regarding women, the inherent ideology must be studied. The "new" German woman under National Socialism, was to be the mother, the model of Aryan characteristics, healthy and lean. Nazi political doctrine stated that women were inherently connected with the blood and soil of the nation, as well as nature itself. Women were to be innocent and pure, the bearers of the future Volk and the sustenance of that Volk. Once this political ideology is understood, the depiction of the German woman as mother, as nature, as sexual object, can be placed within Nazi historical context. Political art provided the Nazi state, the historical legitimization the government needed. It provided the means by which the state could be visually validated, politically, and historically.

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15

Ross, Chad. "Building a better body : nudism, society, race and the German Nation, 1890-1950 /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3091964.

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16

Moir, Anna. "Prejudice and patriotism Frederick Stock, anti-Germanism, and American music in World War I /." Diss., Connect to the thesis, 2009. http://hdl.handle.net/10066/3598.

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17

Morris, Andy. "The geographies of multiculturalism : Britishness, normalisation and the spaces of the Tate Gallery." Thesis, n.p, 2002. http://oro.open.ac.uk/18912.

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18

Mpondi, Douglas. "Educational change and cultural politics national identity-formation in Zimbabwe /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1088187882.

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19

Neller, Katja. "DDR-Nostalgie : Dimensionen der Orientierungen der Ostdeutschen gegenüber der ehemaligen DDR, ihre Ursachen und politischen Konnotationen /." Wiesbaden : VS, Verl. für Sozialwiss, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2793227&prov=M&dokv̲ar=1&doke̲xt=htm.

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20

Nyburg, Anna. "Hardly a trace left of Danube or spree? : a contribution to the study of art book publishing and illustrated book production in Britain by German-speaking exiles from National Socialism." Thesis, Imperial College London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506044.

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21

Reiß, Stefan. "Fichtes "Reden an die deutsche Nation" oder: Vom Ich zum Wir /." Berlin : Akad.-Verl, 2006. http://www.gbv.de/dms/sub-hamburg/516034944.pdf.

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22

Schilling, René. ""Kriegshelden" : Deutungsmuster heroischer Männlichkeit in Deutschland 1813-1945 /." Paderborn : Schöningh, 2002. http://www.h-net.org/review/hrev-a0e1t9-aa.

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23

Lindfield, Peter Nelson. "Furnishing Britain : Gothic as a national aesthetic, 1740-1840." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3490.

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Furniture history is often considered a niche subject removed from the main discipline of art history, and one that has little to do with the output of painters, sculptors and architects. This thesis, however, connects the key intellectual, artistic and architectural debates surfacing in 'the arts' between 1740 and 1840 with the design of British furniture. Despite the expanding corpus of scholarly monographs and articles dealing with individual cabinet-makers, furniture making in geographic areas and periods of time, little attention has been paid to exploring Gothic furniture made between 1740 and 1840. Indeed, no body of research on 'mainstream' Gothic furniture made at this time has been published. No sustained attempt has been made to trace its stylistic evolution, establish stylistic phases, or to place this development within the context of contemporary architectural practice and historiography — except for the study of A.W.N. Pugin's 'Reformed Gothic'. Neither have furniture historians been willing to explore the aesthetic's connection with the intellectual and sentimental position of 'the Gothic' in the period. This thesis addresses these shortcomings and is the first to bridge the historiographic, cultural and architectural concerns of the time with the stylistic, constructional and material characteristics of Gothic furniture. It argues that it, like architecture, was charged with social and political meanings that included national identity in the eighteenth century — around a century before Charles Barry and A.W.N. Pugin designed the Palace of Westminster and prominently associated the Gothic legacy with Britishness.

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24

Kuo, Chien-hua. "A post-colonial critique of the representation of Taiwanese culture in children's picturebooks." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1124153596.

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Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xvi, 312 p.; also includes graphics (some col.). Includes bibliographical references (p. 305-312). Available online via OhioLINK's ETD Center

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25

MacDonald, Juliette. "Aspects of identity in the work of Douglas Strachan (1875-1950)." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/7357.

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This thesis explores facets of Scottish identity via the decorative work of Douglas Strachan. Nations and nationalism remain extraordinarily potent phenomena in the contemporary world and this work seeks to examine aspects of Scottish nationhood and cultural identity through Strachan's evocation of history, folklore, religion and myth. It has been argued that these are the chief catalysts for enabling people to define and shape their understanding of themselves and their place within society. Cultural identity is often understood as a passive form of nationalism which is remote from its political counterpart. Yet there are strong arguments to counter this belief. This thesis addresses some of the issues raised by such arguments and adopts an ethno-symbolic approach in order to re-evaluate Strachan's work, and that of his contemporaries. The thesis also develops the theoretical and contextual debates concerning the decorative arts in general and stained glass in particular in order to raise awareness of its merits and its role within our society.

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26

Inksetter, Hamish. "Perceptions of Evil: A Comparison of Moral Perspectives in Nazi Propaganda and Anti-Nazi Literature." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/31917.

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This thesis examines how the concept of evil was understood by opposing German perspectives during the era of National Socialist rule (1933-1945). The rise of Nazism in Germany marked a period of massive political upheaval wherein the National Socialist government encouraged the masses to view the world in terms of a great struggle between forces of good and evil. This was the central theme of their propaganda, which zealously encouraged racialist beliefs in the popular consciousness, and was based on assumptions of German superiority and Jewish evil. Despite Hitler's apparent success in creating an obedient nation, a significant number of Germans opposed his rule, amongst whom a small group of writers expressed their discontent through creative fiction. Through a comparison of the worldviews communicated through political propaganda and anti-Nazi literature, it is revealed that the crux of the divide between their opposing perspectives hinged on the meaning of evil. Since evil is a concept with many meanings, this thesis approaches the subject thematically. The comparison begins by focusing on the perception of evil as an all-corrupting force that had taken hold of Germany, followed by an exploration of how power and brutality were understood, ending with a comparison of views on how the struggle between good and evil took place on both a social and individual level. In addition to demonstrating the subjectivity of moral perspective during a tumultuous period of the recent past, this research reveals how the struggle against Nazism existed as a conflict of ideas. Moreover, the comparison of cultural sources (including Nazi art, visual propaganda, written texts such as Mein Kampf, and anti-Nazi creative fiction) demonstrates the value of art as a tool for conducting historical enquiry. Since the legacy of the Third Reich continues to directly influence modern perceptions of evil, exploring how evil was understood according to contemporary Germans – from both pro and anti-Nazi perspectives – is of particular historical interest.

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27

Rice, Kolya Michael. "The burden of a national legacy: An examination of Anselm Kiefer's reflections on the German past." Thesis, 1994. http://hdl.handle.net/1911/13887.

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Anselm Kiefer's empathic approach to Germany's past, particularly its period of National Socialism, has provoked heated controversy among art critics and historians. The first section of this paper examines and critiques a sample of the discourse on the subject, drawing the primary conclusion that postwar Germany's peculiar cultural and political context, which has been neglected, is of fundamental importance to understanding Kiefer's mediations. The second section juxtaposes a sample of Kiefer's work against this context, drawing attention to the psychological resonances of National Socialism which continue to haunt Germany and which find their way into the artist's work.

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28

Ganter, Theresa Marie. "Heiner Müller and the Geschichtsdrama searching for a new German identity in the post-World War II (Germania Tod in Berlin) and post-reunification eras (Germania 3 Gespenster am Toten Mann) /." 2005. http://etda.libraries.psu.edu/theses/approved/WorldWideIndex/ETD-898/index.html.

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29

許惠惠. "A Case Study of the Characteristics of Digital Art Lab Learning Community and Its Art Education Significance : Taking Digital Art Lab of National Taiwan University of Arts as An Example." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/28478270414356644628.

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碩士
國立臺灣師範大學
美術學系
100
Along with the advancement in information technology, it is getting diverse and innovative in artistic creating and teaching. Moreover, the progress of computer science, digital media, and new media, featured by the technical character, variability, and complexity, further demands an evolution in teaching method in course of art program. That is background for the emergence of the art lab. The art lab provides an environment for members with different creative professionals to communicate; orienting around the advisor, by the means of lecturing, artistic practicing, and discussing, it is a place help establish mutual connection between the members and advance their skill, creation, and academic research. This study, taking the “digital art lab” of the graduate program of multimedia and animation art in National Taiwan University of Arts, hosted by professor Lin, Pey-Chwen, as the subject, aims to explore the features of the development of the art lab and the assistance the art lab can offer to the members in improving the artistic creation and bring forward the proficiency. Data gathered by the methods of field observation and interviews are further analyzed by the viewpoint of learning community. The results are as follows: 1. The traits shared by digital art lab and learning community are mainly in two aspects: first, in form, they are similar in the organization and management; second, in content, they both put emphasis on the interaction between members and take care of their emotion. 2. Proficiency of the members of the digital art lab are improved in the project, in addition, they acquires improvements on teaching ability, professional knowledge, knowledge and skill of artistic creating, expression, and flexibility, while their growth in professional attitude including self-criticize, self-adjust, team work ability, and active learning are also evident. 3. The artistic creation of the digital art lab focuses on creation concept, experimentation, and the interdisciplinary integration. Not only can the fruitful result advertise Taiwan culture and attract resources, but also the new teaching method echoes the spirit of the age including the return to the nature of teaching, teaching students with their talents, and the share of teaching resource.

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30

Volpe, Maria Alice. "Indianismo and landscape in the Brazilian age of progress : art music from Carlos Gomes to Villa-Lobos, 1870s-1930s /." 2001. http://www.lib.umi.com/cr/utexas/fullcit?p3064681.

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31

Nora, Amanda Marie. "Fusion of dance forms in the United States of America original + original = fused hybrid; or, fusion + fusion = another fused hybrid /." 2005. http://www.oregonpdf.org.

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32

Murray, Sharon E. Pullen Daniel J. "The gaze of the beholder how national identity in nineteenth-century England was reinforced by the collection and display of ancient Egyptian material culture /." 2004. http://etd.lib.fsu.edu/theses/available/etd-11152004-210811.

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Thesis (M.A.)--Florida State University, 2004.
Advisor: Dr. Daniel J. Pullen, Florida State University, College of Visual Arts and Dance, Dept. of Art History. Title and description from dissertation home page (viewed Jan. 18, 2005). Includes bibliographical references.

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33

Basson, Eunice L. "Bydrae van Erich Mayer tot die vestiging van 'n estetiese bewussyn en die bevordering van 'n kunsidentiteit in Suid-Afrika tot aan die einde van die 1930's." Thesis, 2003. http://hdl.handle.net/10500/1477.

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Text in Afrikaans
This thesis entitled The contribution of Erich Mayer towards the establishment of an aesthetic consciousness and the promotion of an art identity in South Africa to the end of the 1930s, is a study of the ideas, ideals and contributions of the German-Jewish artist Erich Mayer concerning the establishment of a national art identity in South Africa. Mayer was born in Germany in 1876. Because of ill health he came to South Africa, where he settled in 1898 and developed an affinity with the Afrikaner pioneers in the rural areas. This natural connection with the Afrikaner pioneers was the main motivation behind his participation in the Anglo-Boer War. With his sound European background and training at various art academies in Berlin and Stuttgart, he soon realised that a knowledge of European art history or any awareness of an aesthetic consciousness concerning the fine and applied arts was sadly lacking within the general South African community and more specifically amongst the early Afrikaners. As a student, Mayer developed a keen interest in traditional German arts and crafts, which, according to him, contributed to the specific national Germanic character. This interest prompted him to conduct research and document examples of folk art among the Afrikaners as well as other indigenous communities, in an attempt to establish an aesthetic awareness in South Africans, and more specifically among Afrikaners. Mayer was of the opinion that the development and marketing of these cultural objects and artefacts would contribute towards a unique art identity with a strong South African national character. Apart from his interests in the fine and applied arts, Mayer also researched the vernacular architecture, furniture design and household articles of both Afrikaner pioneers and Africans. He travelled widely in South Africa, researching his interests and presented lectures on these themes which he published in newspapers and magazines in an effort to create an awareness of the rich indigenous folk art.
Hierdie proefskrif is 'n studie oor die bydrae van die Duits-Joodse kunstenaar Erich Mayer tot die vestiging van 'n estetiese bewussyn en die bevordering van 'n kunsidentiteit in Suid-Afrika tot aan die einde van die 1930's. Mayer is in 1876 in Duitsland gebore. Weens gesondheidsredes het hy hom in 1898 in Suid-Afrika gevestig waar hy veral met die Boerepioniers op die platteland geidentifiseer het em hom gou tuis gevoel het in die landelike milieu. Hierdie natuurlike toegeneentheid tot die vroee Afrikaners het aanleiding gegee tot sy later deelname aan die Anglo-Boereoorlog. Met sy grondige Europese agtergrond en opleiding aan verskillende kunsakademies in Berlyn en Stuttgart, het Mayer gou besef dat die Suid-Afrikaanse gemeenskap in die algemeen, maar veral die vroee Afrikaners in die besonder, 'n algehele gebrek geopenbaar het aan enige Euopese kunshistoriese kennis of enige estetiese bewussyn oor die beeldende en toegepaste kunste. Mayer is vroeg reeds blootgestel aan en het besonder belanggestel in die kunshandwerk van die Duitsers wat deel uitgemaak het van eeue-oue Duitse tradisies en wat bygedra het tot die unieke nasionale volksaard van die Duitsers. Met hierdie belangstelling het Mayer stelselmatig begin om die unieke kunshandwerk van die Afrikanerpioniers te versamel. Hy het hier 'n geleentheid gesien om via voorbeelde van plaaslike kunshandwerk 'n estetiese bewussyn by die Suid-Afrikaans gemeenskap en meer spesifiek by die Afrikaner aan te wakker. Mayer was van mening dat die sinvolle ontwikkeling en bemarking van hierdie kulturele voorwerpe en ontwerpe daartoe sou kon bydra om 'n eie kunsidentiteit met sterk nasionale karakter in Suid-Afrika tot stand te bring. Wat die beeldende en toegepaste kunste betref, het Mayer 'n wye belangstellingsveld gehad en het hy ook omvattende navorsing oor die inheemse boukuns, meubelontwerpe en kunshandwerkartikels van die vroee Boerepioniers, asook oor die van die inheemse bevolkingsgroepe, onderneem. Hy het die land deurreis op soek na geskikte voorbeelde van kunshandwerkartikels, gereeld lesings aangebied en artikels gepubliseer, die alledaagse Boerelewe op die platteland visueel gedokumenteer en op die manier 'n besondere ryk nalatenskap daargestel.
History
D. Litt et Phil. (Geskiedenis)

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