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1
Kelly, Margaret Rose Louise Leckie. "King and Crown an examination of the legal foundation of the British king /." Phd thesis, Australia : Macquarie University, 1999. http://hdl.handle.net/1959.14/71499.
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"27 October 1998"<br>Thesis (PhD)--Macquarie University, School of Law, 1999.<br>Bibliography: p. 509-550.<br>Thesis -- Appendices.<br>'The Crown' has been described as a 'term of art' in constitutional law. This is more than misleading, obscuring the pivotal legal position of the king, which in modern times has been conveniently ignored by lawyers and politicians alike. -- This work examines the legal processes by which a king is made, tracing those processes from the earliest times to the present day. It concludes that the king is made by the selection and recognition by the people, his taking of the Oath of Governance, and his subsequent anointing. (The religious aspects of the making of the king, though of considerable legal significance, are not examined herein, because of space constraints.) -- The Oath of Governance is conventionally called the 'Coronation Oath'-which terminology, while correctly categorising the Oath by reference to the occasion on which it is usually taken, has led by subliminal implication to an erroneous conclusion by many modern commentators that the Oath is merely ceremonial. -- This work highlights the legal implications of the king's Oath of Governance throughout history, particularly in times of political unrest, and concludes that the Oath legally :- conveys power from the people to the person about to become king (the willingness of the people so to confer the power having been evidenced in their collective recognition of that person); - bestows all the prerogatives of the office of king upon that person; - enshrines the manner in which those prerogatives are to be exercised by the king in his people(s)' governance; and that therefore the Oath of Governance is the foundation of the British Constitution. -- All power and prerogative lie with the king, who as a result of his Oath of Governance is sworn to maintain the peace and protection of his people(s), and the king can not, in conscience or law, either do, or allow, anything that is in opposition to the terms of that Oath.<br>Mode of access: World Wide Web.<br>xxvii, 818 p
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Mortimer, Brenda Gean. "Rethinking penal reform and the Royal Prerogative of mercy during Robert Peel's stewardship of the Home Office 1822-7, 1828-30." Thesis, University of Leicester, 2017. http://hdl.handle.net/2381/39954.
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This thesis is the first to undertake an extensive study of the petitions for the Royal Prerogative of mercy submitted to Robert Peel during his stewardship of the Home Office between 1822-7 and 1828-30. It analyses the separate functions Peel was obliged to discharge as legislator, member of the Executive and servant of the Crown. Against the background of the criminal justice system in place in 1822, it explores the underlying legal, jurisprudential and constitutional issues which constrained Peel’s decision- making and identifies the nature and extent of the conventions which evolved to curtail the personal discretion of the Monarch. It focuses on the challenges faced by Peel in reforming the maze of statutes, common law and custom, the main sources of English Law, and demonstrates that criminal law reform, in this period, was conducted incrementally in a continuum with consensus of both Tories and Whigs. It also stresses the importance of using accurate legal language in order to distinguish the common place meaning of mercy from the exercise of the Royal Prerogative of mercy with its constitutional constraints, and suggests that this is a pre-requisite for an accurate appraisal of Peel’s stewardship. Based on research of more than 5,000 cases, it reconstructs the process of begging for mercy and shows that, whilst there were no formalities for the petitions, the Home Office’s responses were increasing standardised and bureaucratic. The conclusions reached will demonstrate that Peel’s penal reforms and his recommendations for the exercise of the Royal Prerogative of mercy were key landmarks in the transition from a parochial system with capital punishment at its heart to a more centralised system based on secondary punishments.
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Cunliffe-Charlesworth, Hilary. "The Royal College of Art : its influence on education, art and design 1900-1950." Thesis, Sheffield Hallam University, 1991. http://shura.shu.ac.uk/3144/.
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The Royal College of Art is considered through its teaching of art and design, and its work as a centre for the training of art teachers. The ideas of some of the staff are evaluated with regard to the need for art and design education. The influence of the diplomates of the College on the areas of education, art and design is appraised with a view to assessing the value of the work of the College. The relevance of government bodies to the Royal College of Art is examined in some detail, notably the Board and Ministry of Education, the Board of Trade and the Treasury. The relationship between the Civil Servants and the College Principals, Visitors and College Council are considered. The extent to which the College was prevented from achieving its original aims and objectives is explored. This is appraised together with examples of criticism the College received from government circles and external bodies. How such criticism was adapted for future educational policy at the College is also noted. When the Royal College of Art obtained independence from the Ministry of Education the College established its status as a post-graduate institution and was able to address the requirements of modern design education. The Appendices provide details of the Royal College of Art's chronology of events, statistical information and summarised results of a questionnaire given to ex-students.
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Moore, Cathie A. "Eternal Gaze: Third Intermediate Period Non-Royal Female Egyptian Coffins." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1401301633.
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Soden, Joanna. "Tradition, evolution, opportunism the role of the Royal Scottish Academy in art education, 1826-1910 /." Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2006. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=59750.
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KISER, EDGAR VANCE. "KINGS AND CLASSES: CROWN AUTONOMY, STATE POLICIES, AND ECONOMIC DEVELOPMENT IN WESTERN EUROPEAN ABSOLUTISMS (ENGLAND, FRANCE, SWEDEN, SPAIN)." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184073.
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This dissertation explores the role of Absolutist states in the transition from feudalism to capitalism in Western Europe. Three general questions are addressed: (1) what are the determinants of variations in the autonomy of rulers? (2) what are the consequences of variations in autonomy for states policies? and (3) what are the effects of various state policies on economic development? A new theoretical framework, based on a synthesis of the neoclassical economic literature on principal-agent relations and current organizational theory in sociology, is developed to answer these three questions. Case studies of Absolutism in England, France, Sweden, and Spain are used to illustrate the explanatory power of the theory.
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Foot, Michelle Elizabeth. "Modern spiritualism and Scottish art between 1860 and 1940." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230582.
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This thesis is formed from original research into the cultural impact of Modern Spiritualism in Scotland during the late nineteenth and early twentieth century. Until the twenty first century academic scholarship has failed to recognise the historic importance of the Spiritualist movement's widespread popularity and the influence it had on art during this period. The findings of this research provide a new understanding and greater appreciation of art from this time. As academic investigation into Spiritualism's historic significance is largely absent, this study focuses on primary sources from an extensive range of Spiritualist literature, including Spiritualist magazines and newspapers. The number of cited artworks, which were discovered and analysed during this research, support the notion that investigation into Spiritualism's influence during this period is necessary. This thesis is divided into two parts: Part One focuses on artworks by Spiritualists intended for Spiritualist audiences. Chapter 1 outlines a history of the Spiritualist movement in Scotland for the first time in order to establish a context for discussion in the following chapters. Chapters 2, 3 and 4 highlight unknown artworks by Spiritualists, such as Jane Stewart Smith and David Duguid, and analyse how those artists responded to private and public Spiritualism in Scotland. Part Two reveals new interpretations of mainstream Scottish art but which art historians have not previously acknowledged as having Spiritualist associations. In Chapter 5, case studies of members of the Royal Scottish Academy demonstrate that Spiritualism did influence mainstream Scottish artists, such as Alfred Edward Borthwick and George Henry Paulin. Chapter 6 reconsiders the Celtic Revival in Scotland, specifically by re-evaluating current interpretations of John Duncan's work with reference to Duncan's Spiritualism. The final chapter examines war memorials in Scotland as a response to mass social bereavement and Spiritualism's increased popularity during and after the First World War.
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Westhead, Jonathan Michael. "Royal ideology in Mesopotamian iconography of the third and second millennia BCE with special reference to gestures." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96899.
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Thesis (MA)--Stellenbosch University, 2015.<br>ENGLISH ABSTRACT: This thesis aims to examine to what extent the visual representations of ancient Mesopotamia
portrayed the royal ideology that was present during the time of their intended display. The
iconographic method is used in this study and this allows for a better understanding of the
meaning behind the work of art. This method allows the study to better attempt to
comprehend the underlying ideology of the work of art. The eight images studied date
between three thousand BCE and one thousand BCE and this provides a broad base for the
study. By having such a broad base it enables the study to provide a brief understanding of
how the ideology adapted over two thousand years. The broad base also enables the study to
examine a variety of different gestures that are portrayed on the representations. This thereby
provides the reader with a better understanding of why certain gestures were used and how
the underlying ideology was communicated through these movements. The study concludes
that while the gestures lend a life-like appearance to the representation they do not solely
portray an underlying ideological message. Rather, they enhance the already inherent
ideological message.<br>AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek tot watter mate die visuele voorstellings van Ou Mesopotamië die
koninklike ideologie — van die tyd toe hulle uitgestal is — uitgebeeld het. Die ikonografiese
metode is in hierdie studie gebruik en maak dit moontlik om 'n beter begrip van die betekenis
agter die kunswerk te verkry. Die metode stel die studie in staat om die onderliggende
ideologie van die kunswerk beter te verstaan. Die agt bestudeerde beelde dateer tussen
drieduisend v.C. en 'n duisend v.C. en bied 'n breë basis vir die studie. So ‘n breë basis stel
die studie in staat om te verstaan hoe die ideologie oor meer as twee duisend jaar aangepas is.
Die breë basis stel die studie ook in staat om 'n verskeidenheid verskillende gebare wat
uitgebeeld word, te ondersoek. Hierdeur verskaf dit die leser met 'n beter begrip waarom
sekere gebare gebruik is en hoe die onderliggende ideologie deur middel van hierdie
bewegings gekommunikeer is. Die studie kom tot die gevolgtrekking dat terwyl die gebare 'n
lewensgetroue voorkoms aan die voorstelling gee, hulle nie uitsluitlik onderliggende
ideologiese boodskappe uitbeeld nie. Inteendeel, hulle versterk die reeds onderliggende
ideologiese boodskap.
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Laanela, Erika Elizabeth. "His Majesty's Ship Saphire and the Royal Navy in 17th-Century Newfoundland." W&M ScholarWorks, 2019. https://scholarworks.wm.edu/etd/1563899019.
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The English fifth-rate frigate Saphire was set on fire by its commander in Newfoundland during an attack by a French squadron in September 1696. Prior to its untimely sinking, this small warship had served the Royal Navy for over two decades, primarily in the Mediterranean, acting as convoy and escort to English shipping. This study combines multiple lines of evidence, including archaeology and material culture recovered from the wreck and contemporary documents, art, and illustrations, to explore the significance of the Saphire through a series of multi-scalar and diachronic interpretive lenses. The approach is inspired by an analytical framework for the study of wrecks first proposed by Muckelroy in 1978, while employing a multi-disciplinary methodology informed by social theory to orient the ship in its social and historical context. The first lens considers the Saphire at the broadest level, as an entangled tool of the Royal Navy built and operated at great cost to advance the imperial ambitions of England’s Stuart rulers in the late 17th century. Contemporary records allow the formulation of a biography of this small warship from its launching in 1675 to its loss in 1696, situated against the backdrop of the major political, military and social events of 17th century England. Although the ship was not fully excavated, available archaeological information, naval correspondence and contemporary images illuminate the material processes of constructing, outfitting, operating and maintaining the Saphire as a complex technological artifact. The second lens focuses on the significance of the Saphire at the regional level by examining the social and economic relationships between naval personnel and the settlers and fishers of Newfoundland in the late 17th century. At that time, naval commanders played a role not only in defense, but also in government and judicial affairs of the island. A comparison of material culture recovered from the Saphire with the archaeological record of settlements such as Ferryland illustrates how seaborne trade led to an increasingly globalized material culture that represents a growing consumerism. The third lens examines social relationships and daily life on a small warship in the late 17th century through the material culture from the wreck and contemporary documents. It looks at how naval hierarchy was established, expressed and contested. The concept of assemblages of practice is used to better understand how the artifacts recovered from the wreck reflect the habitus of the daily lives of 17th-century seamen.
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Gibson, Katherine Mary Beatrice. "'Best belov'd of kings' : the iconography of King Charles II." Thesis, Courtauld Institute of Art (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243284.
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Miller, Olivia Nicole. "The Spanish royal hunting portrait from Velazquez to Goya /." Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/9131.
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Larsen, Lynne Ann Ellsworth. "The Royal Palace of Dahomey: symbol of a transforming nation." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/2234.
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The Royal Palace of Dahomey, which stands in varied states of decay and restoration in Abomey, Benin, has been subject to change and manipulation throughout its history (c. 1645-present). This dissertation focuses on its transformations during the French colonial and post-colonial periods and investigates how the palace functions as a site for religious ceremonies, a center for political struggle, and a symbol of non-European identity. It documents what physical transformations the palace complex underwent in relation to its changing roles, explores the ethics of external political forces, and investigates what influence the palace and royal history have had on contemporary identity and domestic architecture.
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Belli, Melia. "Royal umbrellas of stone memory, political propaganda, and public identity in Rajput funerary architecture /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1905690701&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Tondorg, Britta. "From Kunstkammer to art museum : exhibiting and cataloguing art in the Royal collection in Copenhagen, in the eighteenth and nineteenth centuries." Thesis, Courtauld Institute of Art (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417701.
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Brophy, Elizabeth Mary. "Royal sculpture in Egypt 300 BC - AD 220." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:590228be-3001-49b3-bf6c-137af08ac71c.
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The aim of this thesis is to approach Ptolemaic and Imperial royal sculpture in Egypt dating between 300 BC and AD 220 (the reigns of Ptolemy I and Caracalla) from a contextual point of view. To collect together the statuary items (recognised as statues, statue heads and fragments, and inscribed bases and plinths) that are identifiably royal and have a secure archaeological context, that is a secure find spot or a recoverable provenance, within Egypt. I then used this material, alongside other types of evidence such as textual sources and numismatic material, to consider the distribution, style, placement, and functions of the royal statues, and to answer the primary questions of where were these statues located? what was the relationship between statue, especially statue style, and placement? And what changes can be identified between Ptolemaic and Imperial royal sculpture? From analysis of the sculptural evidence, this thesis was able to create a catalogue of 103 entries composed of 157 statuary items, and use this to identify the different styles of royal statues that existed in Ptolemaic and Imperial Egypt and the primary spaces for the placement of such imagery, namely religious and urban space. The results of this thesis, based on the available evidence, was the identification of a division between sculptural style and context regarding the royal statues, with Egyptian-style material being placed in Egyptian contexts, Greek-style material in Greek, and Imperial-style statues associated with classical contexts. The functions of the statues appear to have also typically been closely related to statue style and placement. Many of the statues were often directly associated with their location, meaning they were an intrinsic part of the function and appearance of the context they occupied, as well as acting as representations of the monarchs. Primarily, the royal statues acted as a way to establish and maintain communication between different groups in Egypt.
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Trodd, Colin. "Formations of cultural identity : art criticism, the National Gallery and the Royal Academy, 1820-1863." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358796.
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Coulangeon, Cécile. "L’architecture religieuse des Xe et XIe siècles dans le sud-est du Domaine royal capétien." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100155.
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Le sud-est du Domaine royal capétien est longtemps resté ignoré des études sur les débuts de l’architecture romane. Ceci est en grande partie lié à la position marginale qu’il occupe par rapport aux grands ensembles de l’historiographie, un état de fait qui découle comme nous avons eu l’occasion de le montrer d’une longue évolution historique depuis l’époque celtique où la zone fut subdivisée entre Sénons et Carnutes. Les premiers souverains capétiens ont toutefois porté un intérêt particulier à cette région, tentant au XIe siècle d’unifier l’espace compris entre leurs trois grands centres : Orléans, Étampes et Melun, face aux poussées de leurs rivaux bléso-champenois. L’activité architecturale semble alors battre son plein, avec de très nombreuses constructions, certes secondaires, mais témoignant d’un certain dynamisme architectural à cette époque. L’examen des monuments les plus importants, confrontés aux autres réalisations phares menées par les Capétiens dans le reste de leur Domaine royal, permet d’envisager le développement d’une politique édilitaire, favorisant certaines formes architecturales monumentales comme la tour-porche ou le chevet dit harmonique, dans une volonté claire de la part des nouveaux souverains de s’imposer visuellement dans le paysage, de se positionner en héritiers de leurs prédécesseurs carolingiens et de s’imposer face à leurs contemporains ottoniens, en reprenant certaines de leurs formes architecturales les plus emblématiques. Ces résultats ne doivent pas cacher en revanche des questions laissées en suspens, notamment en ce qui concerne les datations des édifices considérés ici. L’architecture apparaît en effet assez uniforme, entre petit appareil de tradition antique, opus spicatum, remplois de sarcophages haut-médiévaux et débuts du moyen appareil ; et les critères de datation généralement admis s’opposent à ceux des rares décors conservés<br>The southeast of the Capetian royal Domain remained for a long time unknown by studies on the beginnings of Romasnesque architecture. This is largely connected to the marginal position which it occupies compared with the large sets of the historiography, an established fact which ensues as we had the opportunity to show it of a long historic evolution since the Celtic period when the zone was subdivided between Sénons and Carnutes. The first Capetian sovereigns however carried a particular interest in this region, trying in the 11th century to unify the space between their three big centers : Orléans, Étampes and Melun, in front of pushes of their bléso-champenois rivals. The architectural activity then seems to be in full swing, with very numerous constructions, certainly secondary, but testifying of a certain architectural dynamism at that time. The examination of the most important buildings, confronted with the other key realizations led by the Capetians in the rest of their royal Domain, allows us to envisage the development of a artistic policy, favoring certain architectural monumental forms as tower-hall and harmonious bedhead, in a clear will on behalf of the new sovereigns to stand out visually in the landscape, to position in heirs of their Carolingian predecessors and to stand out in front of their ottonian contemporaries, by taking back their most symbolic architectural forms. These results can’t hide on the other hand questions left unsettled, in particular as regards the datings of buildings considered here. The architecture indeed seems rather uniform, between walls with small rubbles, opus spicatum, re-uses of high-medieval sarcophagus, and beginnings of carved stone ; and the generally admitted criteria of dating oppose those of the rare preserved decorations
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Mason, Ashley Marie. "Portraits of Maintenon: edifying depictions of a royal mistress." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2938.
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Portraits of the Marquise de Maintenon by Louis Ferdinand Elle II and Pierre Mignard are frequently reproduced in the various factual and fictional biographies of Maintenon, but have only been significantly mentioned by art historians in broader studies of the period or in comparison to other portraits. In this thesis, these portraits will be significantly and singularly addressed in a larger study of Maintenon as patron. Both portraits have connections to events occurring in the life of Maintenon at the time of their creation and can be clearly understood as representations of her intended public identity. In addition, each seems to have an interesting relationship to both negative contemporary criticism of Maintenon and to her subsequent legacy. The chapters are ordered chronologically and each involves a discussion of the meaningful visual elements in each portrait. As the earliest portrait that can be firmly considered part of Maintenon's constructed public identity, Louis Elle's Marquise de Maintenon and her Niece is the focus of the first chapter. An analysis of the many possible layers of meaning within this portrait is discussed in relation to Maintenon's complicated legacy. The second chapter centers upon revealing the original function of Mignard's Marquise de Maintenon as St. Frances of Rome and its relationship to the controversy involving Quietism with which Maintenon was involved at the time of the portrait's creation. In the final chapter, the way in which these portraits influence Maintenon's legacy is analyzed. Finally, in the conclusion, the obstacles involved in the study of representations of Maintenon are discussed and suggestions are made of issues requiring further study.
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Movassat, Johanna Domela. "The large vault at Taq-i Bustan : a study in late Sasanian [i.e. Sassanian] royal art /." Lewiston (N.Y.) : E. Mellen Press, 2005. http://catalogue.bnf.fr/ark:/12148/cb39969536z.
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Richardson, Sarah Aoife. "Reading the History of a Tibetan Mahakala Painting: The Nyingma Chod Mandala of Legs Ldan Nagpo Aghora in the Royal Ontario Museum." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1396453697.
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Hedeman, Anne Dawson. "The royal image : illustrations of the "Grandes chroniques de France", 1274-1422 /." Berkeley ; Los Angeles ; Oxford : University of California press, 1991. http://catalogue.bnf.fr/ark:/12148/cb354952967.
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Texte remanié de: Th. Ph. D.--History of art--Baltimore (Md.)--Johns Hopkins University, 1987. Titre de soutenance : The illustrations of the "Grandes chroniques de France" from 1274 to 1422.<br>Bibliogr. p. 321-328. Index.
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Guerreiro, Luís Manuel Ramalhosa. "La représentation du Pouvoir royal à l'âge baroque portugais : 1687-1753." Paris, EHESS, 1995. http://www.theses.fr/1995EHES0001.
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Le portugal, des la fin du 17e siecle et tout particulierement durant le regne de jean v (1706-1750), a connu l'essor d'un ensemble de formes de representation destinees a construire et a imposer une image grandiose du pouvoir monarchique. En ayant recours a l'analyse d'un corpus forme a la fois par des sources litteraires, des materiaux iconographiques et des documents d'archive, cette etude tente de mettre en evidence la trame des rapports multiformes tisses entre les discours, les images et les ceremonies qui ponctuent la vie publique, et qui materialisent et prolongent symboliquement l'existence du monarque. Nous avons pu, ainsi, identifier les principales lignes de demarcation qui ont preside au deplacement des contours de l'imaginaire de la royaute a l'age baroque portugais. En depit des efforts visant a assurer la toute-puissance et la nature transcendante de la personne royale, les conceptions traditionnelles restaient vivaces. Les tentatives de theorisation de l'absolutisme providentiel, bornees par la vision corporatiste de la societe, se devaient de composer avec l'ethique chretienne<br>From the end of the 17th. Century and most particularly during the reign of king john v (1706-1750), portugal witnessed the development of a number of different forms of representation intended to build and impose an impressive image of royal power. The present work tries to emphasize the web of multiform relations spun between speech, image and ceremony in public life, wich give reality and symbolically extend the existence of the monarch. To achieve this purpose we selected for analysis a corpus composed of literary sources, iconographic material and archive documents. Therefore we were able to identify the guidelines of a changing concept of royal representation in the portuguese baroque age. In spite of efforts aiming at reinforcing the power and the transcendental nature of the kingly person, traditional concepts persisted. The attempts to theorize providential absolutism remained limited by a corporative view of society and were bound to fuse with christian ethics
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Mihan, Shiva. "Timurid manuscript production : the scholarship and aesthetics of Prince Bāysunghur’s Royal Atelier (1420-1435)." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277827.
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Considered one of the pinnacles of the arts of the book in the entire history of Persian art, the life of the Timurid prince, Bāysunghur (1397-1433) and his royal library-atelier have been studied for more than a century. Yet previous scholarship, although solid on it own terms, has not combined study of the entirety of production with sustained analysis of individual productions of Bāysunghur’s atelier. Prior to this study, a number of manuscripts were completely neglected, and several others were studied only briefly. What is more, the single extant document describing procedures and progress in the atelier, although well known, demanded further clarification on various levels. This dissertation discusses in six chapters the operation and productions of the library with particular attention paid to its highlight, Bāysunghur’s famous Shāhnāma. After an introduction to the field and an overview of previous studies, I turn to the report of the head of the atelier, clarifying some technical terms and establishing the date of the report. Secondly, the corpus of Bāysunghurī productions is examined chronologically and in relation to the librarian’s report, with individual manuscripts analysed with regard to their textual and aesthetic traits and their placement in an art historical context. Next, the Shāhnāma of Bāysunghur, which for many years has been inaccessible for close scholarly study, receives extended treatment. The final chapter presents a discussion of the textual and aesthetic content of the corpus and reconsiders the role of the atelier supervisor. The overall aim is to enhance and extend understanding of the arts of the book in a unique royal library, that of Prince Bāysunghur.
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Bryson, Karen Margaret. "An Egyptian Royal Portrait Head in the Collection of the Michael C. Carlos Museum at Emory University." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/31.
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This thesis discusses a small, red granite, Egyptian royal portrait head in the collection of the Michael C. Carlos Museum in Atlanta, Georgia. The head is determined to be a fragment from a group depicting the king in front of the monumental figure of a divine animal, probably a ram or baboon. Scholars have attributed the head to the reigns of various New Kingdom pharaohs, including Horemheb and Seti I, but on more careful examination its style demonstrates that it dates to the reign of Ramesses II (1304-1237 B.C.).
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Hanna, Margaret A. (Margaret Ann). "Benjamin West's St. Paul Shaking the Viper from his Hand After the Shipwreck: Altarpiece of 1789 and Designs for Other Decorative Works in the Chapel of St. Peter and St. Paul, The Royal Naval College, London." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc332489/.
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This thesis analyzes Benjamin West's altarpiece St. Paul Shaking the Viper from His Hand After the Shipwreck and his designs for thirty-three related artworks in the Royal Naval College Chapel, Greenwich, England, as a synthesis of the major influences in his life and as an example of both traditional and innovative themes in his artistic style of the late eighteenth century. This study examines West's life, the Greenwich Chapel history, altarpiece and decorative scheme, and concludes that the designs are an example of West's stylistic flexibility and are related thematically to his Windsor Royal Chapel commission.
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Saunier, Claire. "La doctrine des « questions politiques ». Étude comparée : Angleterre, France, États-Unis." Thesis, Paris 2, 2019. http://www.theses.fr/2019PA020034.
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En tant que garant du respect des lois ou de la Constitution, le juge se trouve nécessairement confronté à des recours mettant en cause des décisions du pouvoir exécutif ou du pouvoir législatif. Certaines de ces décisions touchent à des sujets politiquement sensibles, parce qu'elles traduisent des choix discrétionnaires de la part de l'une et l’autre de ces deux branches. Face à cette situation délicate, le juge doit concilier deux impératifs potentiellement contradictoires. Il semble, d’une part, avoir l'obligation de trancher les litiges qui lui sont soumis, afin de concrétiser les exigences de l’État de droit (ou de la rule of law). D’autre part, il est tenu de respecter le principe fondamental de séparation des pouvoirs, lequel exige qu’il n’excède pas ses compétences. Ces deux impératifs étant communs à toutes les démocraties occidentales, le problème s'y est par conséquent posé. Pour y répondre, une solution similaire a pu être donnée par les jurisprudences de différents systèmes. Ces affaires ont donné lieu à la reconnaissance d'une catégorie particulière d'actes, dont l'immunité juridictionnelle constitue le caractère principal : les political questions aux États-Unis, les Acts of State mais également les actes émanant du pouvoir de prérogative royale en Angleterre et enfin, les actes de gouvernement et les actes parlementaires en France. En dépit des différences culturelles de ces systèmes juridiques, il est intéressant de voir que ces catégories jurisprudentielles regroupent des litiges aux objets similaires. En d’autres termes, la doctrine des “questions politiques” suggère qu’il existerait une matière politique distincte de la matière juridique. L’objectif de cette recherche sera d’interroger la pertinence de cette apparente dichotomie entre droit et politique, à travers une analyse du contentieux des « questions politiques » et des études doctrinales qui lui ont été consacrées<br>As guardians of the respect of the laws and the constitution, judges often have to face cases that question the legality of decisions from the highest executive authorities or from the legislator. Some of those issues are highly politically sensitive because they reflect discretionary choices made by those political authorities. In such delicate cases, judges have to reconcile two imperatives. On the one hand they have to provide a remedy to the claimants, in order to achieve the rule of law (or, the État de droit) and decide the case and, on the other hand, they have to respect the fundamental principle of the separation of powers which requires that they do not exceed their powers. Those two imperatives are central in western democracies, therefore this problem appears in various legal systems. A similar device has been elaborated in those different systems. French, American and English judges have indeed decided to isolate certain issues, which seemed to make them improper for judicial resolution. This judicial category can be designated by the term “political questions,” which is used in the American case law. This term also suits other categories found in the French case law, such as the “actes de gouvernement” and “actes parlementaires”, but also in the English case law, where judges refused to decide what they call “Acts of State” or some decisions based on the Royal Prerogative. In spite of the important cultural differences between those systems, it is interesting to see that those categories gather similar decisions. In other words, these “political questions” doctrine reflect the idea that political matters could be distinguished from legal matters. The whole point of this research will be to examine the significance of the dichotomy between law and politics, through the analysis of case law related to the “political questions” doctrine and the doctrinal approaches of this category
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Fryman, Oliva. "Making the bed : the practice, role and significance of housekeeping in the royal bedchambers at Hampton Court Palace 1689-1737." Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/22527/.
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This thesis explores and analyses the practices, role and significance of housekeeping in the royal bedchambers at Hampton Court in the period between 1689 and 1737. Specifically, it seeks to chart contemporary practices of care and maintenance and to situate this work within the context of the rooms that lay at the heart of the late-Stuart and early-Hanoverian courts. A broad range of primary sources have been used to inform the study, in particular the records of the Lord Chamberlain and the Great Wardrobe. These archives are considered in relation to the material culture of the interiors at Hampton Court and are placed within the broader framework of social and political histories of the period. The thesis is divided into two main parts, the first of which explores the context of the royal bedchambers at Hampton Court. Starting with the premise that the practices of housekeeping were shaped by the specific environment in which they operated, it provides an exposition of the dual significance of this area of the palace as a space for magnificent court ceremony and as a retreat for the rituals of royal private life. Developing these findings, the second part of the study discusses housekeeping practices and the servants who undertook this work. In particular, it focuses on the identity, role and status of the lower ranking female servants of the bedchamber department, the Keeper of the Standing Wardrobe and the Privy Lodgings and the craftsmen of the Great Wardrobe. Throughout the discussion of these individuals, and the practices of care and maintenance, is framed by an analysis of the motivations for good housekeeping at court, and the meanings that were ascribed to this work. The research contained within this thesis contributes to our knowledge of the royal bedchambers at Hampton Court, in a key phase of the palace's history. by offering a more complete picture of how these rooms were inhabited by domestic servants as well as the monarch. New light is also shed on the many long periods when Hampton Court lay empty and the spheres of activity that took place in the absence of the court. The findings of this thesis demonstrate the significant role played by housekeeping as an essential underpinning for the use of Hampton Court as a royal home and as a splendid place of court.
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Cunha, Alcingstone de Oliveira. "The Portuguese royal court and the patronage of sacred music in Rio de Janeiro, 1808-1821 /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122091j.
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Diss.--Philosophie--Fort Worth, Tex.--Southwestern Baptist theological seminary, 1998.<br>Liste des musiciens (compositeurs et instrumentistes) de la Chapelle royale de Rio de Janeiro. Bibliogr. p. 151-165.
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Jewison, Deborah. "Policy and practice : design education in England from 1837-1992, with particular reference to furniture courses at Birmingham, Leicester and the Royal College of Art." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11390.
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This thesis is an examination of policy-making and practice in design education in England from 1837-1992. It takes a longue durée approach to the history of the development of design education to provide a new narrative which shows a pattern of recurring debates concerning the purpose of design education and how it should be taught. Using the curricula of furniture design courses at three art schools to illustrate the way policy was put into practice, this thesis argues that historical context is key to understanding why debates regarding the way designers should be trained for industry have recurred since 1837. Based on a wide variety of primary source material the thesis contributes to historiography by extending the scope of previous histories of art and design education, and also, for the first time, focuses solely on the development of design education, whilst acknowledging its place in the wider development of art and design education. Following the introduction, chapter two of this thesis examines the events which led to the 1835-6 Select Committee and argues that many of the issues raised during the Committee influenced the teaching of design education through the remainder of the nineteenth century; this is further demonstrated through chapter three. Charting the development of design education into the twentieth century through chapters four, five and six, this thesis shows that changing historical contexts, such as the development of industrial methods or wider changes in higher education, have also had an impact on design education. In the light of changing historical contexts, policy makers for design education have continually questioned what design students should be taught and how they should be taught, which accounts, in part, for the recurring nature of debates in design education.
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Barber, James. "Installation art and memory : a practice-as-research exploration." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/900.
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This practice-as-research project investigates how a piece of site-responsive Installation Art, titled Triple Point Dunnage (exhibited in Royal William Yard, June 2009), can be used to generate knowledge about memory work through experience of site. Working in dialogue with the ideas of Daniel C. Dennett, Lucy Lippard and Gaston Bachelard, I attempted to create a permeable and fluctuating creative setting for the memory work of participants. An approach that used site as a stimulant within a process which also incorporated theoretical themes. During the period of design and construction, I interacted with and recorded interviews with people who had a personal connection with the site or with an interest in how memory works. The final installation presented layers of spoken fragmented content in a dialectic relationship within the installation’s spatial construction. The responses of the installation’s visitors and participants were collated through a response book and interviews. These were analysed in order to discover to what extent, if at all, the properties I had developed and designed into the work had shaped the engagements of the participants. The multi-valented properties of the work generated an array of responses that suggested that the viewers had fashioned their experience by blending the fragmented stories of others with their own personal histories. This engagement resembles Dennett’s concept of “self-narrator” and resonates with Bachelard’s concept of the fusion of physical and psychological space and Lippard’s understanding of place. By exploring memory through site Triple Point Dunnage generated a sense of place that was a fusion of the participants’ responses to the external physical environment and their associative memories stimulated by the affective fragmented properties of the work.
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Lidman, Charlotte. "Konstes fria studie : En undersökning av förändringarna i avgångselevernas examensutställningar vid Kungliga Konsthögskolan 1962-2011." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-276865.
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The aim of the essay is to examine how the student exhibitions of the Royal University college of Fine Arts in Stockholm has changed between 1962-2011, and what these changes can depend on. The questions are: What are the changes in the choice of examination work for the students of the Royal University college of Fine Arts, and what can they depend on? Is the school adjusting their education to the surrounding art world, and in what way is that noticeable? By studying the catalogs from the exhibitions, newspaper reviews and other literature, a shorter conclusion is given concerning the art world, the study situation and the student’s choices of examination works the affected years. The works has gone from being a submission of the study fields during the year, to becoming free projects where stories about important subjects are told. Pressures on the school from students and teachers to be able to keep up with the surrounding view of art in the society that is constantly changing, together with reforms and investigation has led to these changes.
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Diaz, Ella Maria. "Flying under the radar with the Royal Chicano Air Force: The ongoing politics of space and ethnic identity." W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1539623562.
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This dissertation explores the Royal Chicano Air Force (RCAF), a Chicano/a arts collective that produced numerous murals in Sacramento, CA, for over forty years. Grounded in Mexican and US aesthetic traditions, their murals reflect cultural hybridity and re-imagine US history through a Chicano/a perspective. Many of their works were and are located in Sacramento's Chicano/a barrios, while others occupy interethnic, public space in the vicinity of the State Capitol. By encoding hidden Chicano/a iconographies within each mural, the RCAF offers what scholar Alicia Gaspar de Alba calls "alter-Native" narratives of American history because they posit "Other" views of local history, which trouble larger frameworks of US history.;The exposition begins by exploring the RCAF's origin's-story---or, how the group emerged in the 1960s and '70s Civil Rights Movement, and also in relation to events of the early twentieth century. Both the Mexican Revolution of 1910 and the 1942 Bracero Program in the US impacted Mexican Americans in meaningful ways that resonate in the memories and biographies of the RCAF. After locating the group's historical antecedents, Chapter Two examines the rise of public art in the wake of the 1960s and '70s civil rights era, which reflected ethno-political activism as well as ethnic self-actualization.;Chapter Three explores issues of gender in the RCAF, since most of the artists that comprise the group are male. Chapter Four provides a historical overview of their murals, all of which convey messages and themes of historical inclusion and intervention. Chapter Five proposes a theoretical framework on the notion of 'remapping' and how it's been used in American Studies, Literary Studies and related intellectual fields.;Finally, Chapter Six enacts a remapping by rethinking Sacramento's history according to the murals and historic spaces of the RCAF. as a conclusion, this chapter also charts the RCAF and Chicano/a art's movement into institutional space, both literally---through museum and library collections---and figuratively---in perceptions and paradigms of US art history.
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Masteller, Kimberly Adora. "Temple Construction, Iconography, and Royal Identity In the Eastern Kalacuri Dynasty." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494172899685935.
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James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.
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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.<br>Doctor of Philosophy (PhD)
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Swinney, Geoffrey Nigel. "Towards an historical geography of a 'National' Museum : the Industrial Museum of Scotland, the Edinburgh Museum of Science and Art and the Royal Scottish Museum, 1854-1939." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8109.
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This thesis adopts a primarily process-based methodology to put a museum in its place as a site of knowledge-making. It examines the practices of space which were productive of a government-funded (‘national’) museum in Edinburgh. Taking a spatial perspective, and recognising that place is both material and metaphorical, the thesis explores how the Museum’s material and intellectual architectures were produced over the period 1854-1939. The thesis is concerned to bring into focus the dynamic processes by which the Museum was in a continual state of becoming; a constellation of tangible and intangible objects constantly being produced and reproduced through mobility of objects, people and ideas. Its concern is to chart the flows through space which produced the Museum. The thesis comprises nine chapters. An introduction and a literature review are followed by chapters concerned, respectively, with the built space of the museum and with the people who worked there. A further three chapters consider the nature of that work and the practices of space which constituted the processes of collecting, displaying, and educating, whilst another focuses on visiting. The final chapter discusses how the analysis has constructed the museum as constituted through a complex diversity of material and metaphorical settings on a variety of geographical scales. This critical scrutiny of the museum has, in turn, brought to the fore the place of the Museum in contributing to civic and national identity. Through a case-study of a particular museum, the concern has been to explore how critical geographies of science may be applied to the examination of a museum. In particular the thesis examines how contextual concepts developed largely in conscribed sites such as laboratories apply to a public site such as a museum. The thesis suggests that the ordering terms ‘space’ and ‘place’, combined with a focus on practice and performance, may have more general application in constructing an historical geography of museums as sites of production and consumption of scientific knowledge.
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Hilaire, Sylvain. "Port-royal des champs, haut lieu de mémoire : étude des jardins et des paysages culturels." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCD073.
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L’étude développe une approche globale de l’histoire d’un haut lieu de mémoire, Port-Royal des Champs, à partir du prisme du jardin et du paysage, comme clé heuristique de relecture de l’histoire de Port-Royal et du jansénisme, mais aussi des enjeux de la modernité classique aux XVIIème et XVIIIème siècles. La méthodologie croise les approches de l’histoire culturelle et de l’histoire environnementale, avec une ouverture pluridisciplinaire à partir de la notion de « rosace de Port-Royal ». Il s’agit d’abord d’observer le niveau de lecture religieux, depuis les acculturations bibliques, monastiques et augustiniennes, jusqu’au renouveau tridentin du premier XVIIème siècle, et leurs oscillations, allant du désert ascétique au jardin paradisiaque. Viennent ensuite les lectures esthétiques, poétiques et picturales, avec leurs primitivismes et tentations naturalistes, par la recherche des traces d’une nature originelle, sans oublier leurs traductions techniques dans des savoirs horticoles, botaniques et agronomiques. Apparaissent enfin les dimensions paysagères et territoriales, qui offrent l’expression d’un contre-modèle versaillais incarné dans l’espace. Ce mythe paysager traversa les siècles, depuis les réseaux de la République des Lettres des XVIIème et XVIIIème siècles, jusqu’aux diverses vagues interprétatives de la période révolutionnaire, de l’âge romantique, jusqu’au milieu du XXème siècle. Il s’agit in fine de proposer une étude globale d’une « figure paysagère de la Nation », de ses principes fondateurs, de ses flux et reflux mémoriels, et de ses processus sur la longue durée de (dé)sacralisation et de patrimonialisation<br>The study develops a global approach to the history of a Chief place of memory, Port-Royal des Champs, using the lens of the garden and the landscape as a heuristic key to re-read the history of Port-Royal and Jansenism, but also the stakes of classical modernity in the 17th and 18th centuries. The methodology crosses approaches in cultural history and environmental history, with a multidisciplinary approach of the notion of "Port-Royal Rosette". It first consists in observing the levels of religious interpretation, from biblical, monastic and Augustinian acculturations, to the Tridentine revival of the first 17th century, and their oscillations between the ascetic desert and the garden of paradise. Aesthetic, poetic and pictorial approaches are then deployed, with their primitivisms and naturalist temptations, through the search for traces of an original nature, without forgetting their technical translations into horticultural, botanical and agronomic knowledge. Finally, there are landscape and territorial dimensions, which mark the expression of a Versaillian counter-model incarnated in space. This landscape myth crossed the centuries, from the networks of the Republic of Letters of the seventeenth and eighteenth centuries, to the interpretive waves of the Revolutionary period, the Romantic age until the middle of the twentieth century. The aim is to propose a global study of a "landscape figure of the Nation", its founding principles, its memory flows and ebb, and its long term processes of (de)sacralization and patrimonialization
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Loconte, Aislinn. "Royal women's patronage of art and architecture in the Kingdom of Naples 1300-1450 : from Maria of Hungary to Maria D'Enghien." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402159.
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Dechamps, Claire. "Au plaisir de treshault et trespuissant seigneur Louis bastard de Bourbon gendre de Louis XI : échanges et commandes artistiques au sein du milieu royal." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040235.
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Connu pour ses qualités de bibliophile, Louis bâtard de Bourbon se distingue aussi par sa proximité avec Louis XI, dont il épouse la fille bâtarde. Propulsé à un rang auquel sa naissance ne le destinait pas, il acquiert avec Jeanne bâtarde de France, à partir de 1465 et durant une vingtaine d’années, une série d’œuvres destinée à affirmer le rang et la puissance de ce nouveau couple princier. L’objectif de ce travail a d’abord été de reconstituer ce corpus, composé d’une tapisserie, un panneau peint, plusieurs manuscrits enluminés et une commande castrale, pour l’étudier ensuite en détail afin de mettre en évidence les interférences entre commande, réseau social, carrière d’officier dans le sillage royal et événements historiques susceptibles d’avoir pu interférer dans le choix des œuvres ou dans les modèles de référence retenus. Cet ensemble a été considéré dans sa globalité, récusant le cloisonnement disciplinaire traditionnel, afin de cerner au plus près le sens et la fonction des œuvres, au profit des approches stylistiques plus traditionnelles. L’étude a cherché ensuite à montrer comment les valeurs royales ont été assimilées par le couple, dans quelles circonstances, et à quelles fins. L’interrogation plus large du contexte de création a mis en lumière la place singulière prise par ce seigneur dans le jeu politique de Louis XI, tout comme celle de son épouse, dont le rôle longtemps négligé apporte un nouvel éclairage sur les échanges entre œuvres et artistes, actifs au sein de ce réseau<br>Known for his excellence as a bibliophile, Louis bâtard de Bourbon was also close to Louis XI, whose illegitimate daughter he married. Having attained a station well above that which his birth reserved for him, he and Jeanne batârde de France acquired, after 1465 and over a period of some twenty years, a series of works meant to assert the rank and power of this new princely couple. The object of the present work has been first to reconstitute this corpus, consisting of a tapestry, a painted panel, several illuminated manuscripts and architectural commissions and then to study it in depth in order to shed light on the interconnections between the commissions, the social network, the career of an officer attached to the throne of France and the historical events likely to have influenced the choice of works or of models to which these were expected to refer. This body of work has been studied as a whole without regard for the usual disciplinary separations and with an eye to defining as precisely as possible the meanings and functions of the works, thereby enriching the traditional stylistic approaches. This study then goes on to show how the couple assimilated the values of the monarchy, under what circumstances and to what ends. This examination of the larger context of creation has brought to light the unique role in Louis XI’s political strategy played by this nobleman as well as by his wife, whose long neglected role sheds new light on the exchanges between the works and the artists who participated in this network
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James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2003.<br>"A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.
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Verdon, Tatiana Sol. "Scientific Analysis and Technical Study of Three Ancient Egyptian Royal Textiles from the Tomb of Hatnofer and Ramose, Western Thebes, New Kingdom, Dynasty 18, 1550-1295 B.C." Thesis, Fashion Institute of Technology, SUNY, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10937091.
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<p> An Egyptian archaeological textile, accessioned in the American Museum of Natural History (AMNH) (Cat.No. 95/2444), from the Tomb of Hatnofer and Ramose, Eighteenth Dynasty (1550-1295 B.C.), Western Thebes was studied, with two textiles (Cat.Nos. 95/2443 and 95/2445) from the same tomb used as comparanda. The textile’s finely spun fibers, plain-weave balanced structure with selvedge fringes and lower edge fringes, and with various weavers’ marks, stains, and losses, provide invaluable historical data about finely woven, royal linens of Eighteenth Dynasty Egypt. </p><p> Scientific analysis used for this study include: visual annotations, polarized light microscopy (PLM), scanning electron microscopy (SEM) including fiber diameter measurements, and carbon-14 dating. Closely examining a textile and its fibers can provide information about the condition of the textile, linen quality, weaving techniques, and the life of the textile itself. While the linen fibers in the Study Textile (Cat.No. 95/2444) and the Comparanda Textile #1 (Cat.No.95/2443) have been identified, it is still uncertain whether or not the fibers in the Comparanda Textile #2 (Cat.No.95/2445) are of a different quality linen or of a different plant material which is very similar to linen within the bast fiber family. Further studies would be required to answer this and several other questions that remain.</p><p>
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Parfondry, Olivier. "Les techniques et le corps dans la transmission de l'art théâtral : ethnographie d'une Ecole de théâtre professionnel : (les classes d'Art Dramatique du Conservatoire Royal de Liège)." Thesis, Metz, 2008. http://www.theses.fr/2008METZ002L/document.
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Cette recherche a pour but de montrer et de comprendre comment se transmet l’art théâtral, comment, à l’intérieur des « ateliers », se fabrique un comédien. L’étude de cette « fabrication » passe inévitablement par l’investigation de ses cultures, de ses rites, de ses traditions. Le terrain sur lequel ces investigations se sont menées est celui, très singulier, des classes d’art dramatique du Conservatoire Royal de Liège et leur équipe pédagogique. Les membres de cette équipe, réunis autour d’un projet pédagogique particulier, façonnent cet acteur de théâtre dans une relation d’obligations réciproques qui s’institue symboliquement dans le corps de l’acteur. Cette symbolisation par le corps permets de réduire la tension qu’il y a entre le théâtre et la société qui le conditionne dans son essence comme dans ses formes. Contrairement aux autres formations classiques où le corps s’éloigne dans une simple représentation et est séparé de ce qui lui donne sens, à savoir la société qui le produit, cette formation singulière le met en scène en liaison directe avec ce qui préside à son avènement, à savoir la société des femmes et des hommes qui interprète le monde à l’aide du théâtre<br>This research aims to demonstrate and understand how to transmit the theatre, how, within the workshops', "makes an actor. The study of the "manufacturing" will inevitably depend on the investigation of its cultures, its rituals, its traditions. The land on which these investigations are conducted is very unusual, classes drama of the Royal Conservatory of Liege and their teaching team. Members of this team, gathered around a particular educational project, shaping this theater actor in a relationship of reciprocal obligations that become established symbolically in the actor's body. This symbolization by the body would reduce tension there between theatre and the society that determines in its essence and in its forms. Unlike other conventional formations where the body away in a mere representation and is separated from giving it meaning, namely, the company says, that the unique training features directly connected with what governs its advent , the society of men and women who interpret the world through the theater
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Dupont, Erika. "Présence et réception des artistes anglais à Paris durant l'entre-deux-guerres." Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H044.
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Après la Première Guerre mondiale, des artistes affluent du monde entier vers la France, en particulier vers Paris, qui devient le principal foyer artistique européen durant l'entre-deux-guerres et qui voit se développer des courants mêlant tradition et avant-garde. C'est à cette période qu'immigrent de nombreux artistes originaires des pays du sud et de l'est de l'Europe (surtout pour des raisons sociales, religieuses et politiques, conséquences, notamment, des pogroms juifs et de la révolution russe). Paris, phare culturel du monde à l'époque, attire de plus en plus d'artistes qui rejoignent ceux déjà présents depuis le début du XXème siècle, tels Picasso, Braque ou Matisse. Entre temps, le centre artistique de la ville a migré du quartier de Montmartre vers celui de Montparnasse, qui compte parmi les artistes les plus représentatifs l'italien Modigliani, le suisse Giacometti, l'espagnol Dali, le russe Soutine, le biélorusse Chagall, ou encore le roumain Brancusi.Certains sont plus attirés par le Nouveau Monde et rejoignent Duchamp à New York, tandis que peu d'artistes américains émigrent vers Paris : ce sont plutôt des écrivains américains qui font le voyage inverse et s'installent dans la Ville Lumière (on pense à Ernest Hemingway ou Ezra Pound). Mais qu’en est-il des artistes anglais à Paris ? C’est le sujet de notre travail de recherche : qui sont, précisément, les artistes qui migrent ? Quelles sont leurs motivations ? Quel type d'œuvres ont-ils produit ? Quelles ont été leurs relations avec le milieu artistique et le public parisiens ? Quels échanges franco-anglais sont issus de cette présence anglaise en France ?<br>There were many English artists in France between 1919 and 1939. Yet this has been neglected. This project will do explore the English presence on the Parisian artistic scene and the reception of English artists by their French counterparts.After the First World War, artists came from the entire world to Paris. It became the main European artistic centre during the interwar period, where several artistic movements developed. Some of these artists came from Southern and Eastern Europe, often for social, religious and political issues.Paris attracted more and more artists who joined those who had been there since the beginning of the 20th Century – Pablo Picasso, Georges Braque or Henri Matisse, among others. At the same time, the artistic centre of Paris moved from Montmartre to Montparnasse, which gathered the Italian Amedeo Modigliani, the Swiss Alberto Giacometti, the Spanish Salvador Dali, the Russian Chaïm Soutine, the Belarusian Marc Chagall or even the Romanian Constantin Brancusi. Some artists preferred the appeal of the New World and joined Marcel Duchamp in New York, although relatively few American artists moved to Paris. French scholars have taken an interest in the period: the Franco-Russian artistic cooperation in Paris has been recently analysed by Tatiana Trankvillitskaia, while the Belgian presence is being studied by Céline De Potter.However, English artists in Paris have yet to be studied. Their contribution to artistic life or the impact of Paris on the English art at that time have been neglected by French historians.This current project traces the details of that English presence in France during the interwar years: who were the artists that came over? What was their subject matter? What kind of works did they produce? What were their relationships both with the artistic milieu and the Parisian public? What was the impact of French works on English art? The goal is to define the place of English artists within the “École de Paris.” Who were they and what were they attracted to?
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Hoeschen, Jessica. "THE ENGLISH REFORMATION IN IMAGE AND PRINT: CULTURAL CONTINUITY, DISRUPTIONS, AND COMMUNICATIONS IN TUDOR ART." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2244.
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In the sixteenth century, Martin Luther s Protestant Reformation generated multiple reform movements and political transformations in Europe. Within this general period of reform, political and cultural changes from the Tudor era (1485-1603) created a separate English Reformation. The English Reformation evolved from the different agendas of the early Tudor monarchs and occurred in two distinct waves: an initial, more moderate Henrician Reformation and a later, more complete Edwardian Reformation. Henry VIII and Edward VI s attempts to redefine monarchy through a new State and Church identity drove English church reform during this period, giving these religious shifts distinct political roots. Cultural artifacts were prominent indicators of these differing political goals, and Henry VIII and Edward VI adjusted and removed images and texts according to their propaganda methods. These royal manipulations of culture are well-documented, but historians have overlooked important components in the communication process. Lay responses to imagery changes ranging from compliance to rebellion demonstrate the complex relationship of images, monarchy, and reform. Examining images function as propaganda with questions of intent, reception, and comprehension in royal communication is imperative for assessing the impact of royal messages on Tudor culture. Analyzing Tudor art as a form of political communication that disseminated idealized political representation reveals a strong visual discourse between the King and the English people. Images held key powers within royal discourse to create and disseminate propaganda of a kingship.<br>M.A.<br>Department of History<br>Arts and Humanities<br>History MA
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Seago, Alex. "'Burning the box of beautiful things' : Ark magazine & the development of a 'postmodern sensibility' at the Royal College of Art: 1950-1962." Thesis, Royal College of Art, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600826.
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Veasey, Melanie. "'Reforming academicians' : sculptors of the Royal Academy of Arts, c. 1948-1959." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/34791.
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Post-war sculpture created by members of the Royal Academy of Arts was seemingly marginalised by Keynesian state patronage which privileged a new generation of avant-garde sculptors. This thesis considers whether selected Academicians (Siegfried Charoux, Frank Dobson, Maurice Lambert, Alfred Machin, John Skeaping and Charles Wheeler) variously engaged with pedagogy, community, exhibition practice and sculpture for the state, to access ascendant state patronage. Chapter One, The Post-war Expansion of State Patronage , investigates the existing and shifting parameters of patronage of the visual arts and specifically analyses how this was manifest through innovative temporary sculpture exhibitions. Chapter Two, The Royal Academy Sculpture School , examines the reasons why the Academicians maintained a conventional fine arts programme of study, in contrast to that of industrial design imposed by Government upon state art institutions for reasons of economic contribution. This chapter also analyses the role of the art-Master including the influence of émigré teachers, prospects for women sculpture students and the post-war scarcity of resources which inspired the use of new materials and techniques. Chapter Three, The Royal Academy as Community , traces the socialisation of London-based art societies whose memberships helped to identify sculptors for potential election to the Royal Academy; it then considers the gifting of elected Academicians Diploma Works. The empirical mapping of sponsorship for elected sculptors is investigated to determine how the organic profile of the Royal Academy s membership began to accommodate more modern sculptors and identifies a petition for change which may have influenced Munnings s speech (1949). Chapter Four, The Royal Academy Summer Exhibitions , explores the preparatory rituals of the Selection and Hanging Committees, processes for the selection of amateurs works, exhibit genres and critical reception. Moreover it contrasts the Summer Exhibitions with the Arts Council s Sculpture in the Home exhibition series to identify potential duplications. Chapter Five, Sculpture for the State , considers three diverse conduits facilitating the acquisition of sculpture for the state: The Chantrey Collection administered by the Royal Academy and exhibited at the Tate Gallery; the commissioning of Charles Wheeler s Earth and Water (1951 1953) for the new Ministry of Defence, London; and the selection of Siegfried Charoux s The Neighbours (1959) for London County Council s Patronage of the Arts Scheme . For these sculptures, complex expressions of Britishness are considered. In summary this thesis argues that unfettered by their allegiance to the Royal Academy of Arts its sculptors sought ways in which they might participate in the unprecedented opportunities that an expanded model of state patronage presented.
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Goudie, Allison J. I. "The sovereignty of the royal portrait in revolutionary and Napoleonic Europe : five case studies surrounding Maria Carolina, Queen of Naples." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:aeecdc4b-d840-4e25-be64-ba1407e18cd2.
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This study demonstrates how royal portraiture functioned during the Revolutionary and Napoleonic wars as a vehicle for visualizing and processing the contemporary political upheavals. It does so by considering a notion of the 'sovereignty of the portrait', that is, the semiotic integrity (or precisely the lack thereof) and the material territory of royal portraiture at this historical juncture. Working from an assumption that the precariousness of sovereignty which delineated the Revolutionary and Napoleonic wars goes hand in hand with the precariousness of representation during the same period, it reframes prevailing readings of royal portraiture in the aftermath of the French Revolution by approaching the genre less as one defined by the oneway propagation of a message, and more as a highly unstable intermedial network of representation. This theoretical undertaking is refracted through the figure of Maria Carolina, Queen of Naples (1752-1814), close sister and foil to Queen Marie- Antoinette of France, and who, as de facto ruler of the Kingdom of Naples, physically survived revolution but was twice dethroned and thrice exiled. A diverse ecology of royal portraiture revolving around Maria Carolina is presented across five case studies. Close attention to the materiality of a hyperrealistic wax bust of Maria Carolina reveals how portraiture absorbed the trauma of the French Revolution; Maria Carolina’s correspondence in invisible ink is used as a tool to read a highly distinctive visual language of 'hidden' silhouettes of sovereigns and to explore the in/visibility of exile; a novel reading of Antonio Canova's work for the Neapolitan Bourbons through the lens of contemporary caricature problematizes the binary between ancien régime and parvenue monarchy; and a unique miniature of Maria Carolina offers itself as a material metaphor for post-revolutionary sovereignty. Finally, Maria Carolina’s death mask testifies to how Maria Carolina herself became a relic of the ancien régime.
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Barrett, Erin Gabrielle. "Art and the construction of early medieval queenship : the iconography of the join royal/imperial portrait and the visual representation of the ruler's consort." Thesis, Courtauld Institute of Art (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244685.
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Darlington, Anne Carol. "The Royal Academy of Arts and its anatomical teachings : with an examination of art-anatomy practices during the eighteenth and early nineteenth centuries in Britain." Thesis, UCL Institute of Education (IOE), 1990. http://discovery.ucl.ac.uk/10006566/.
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The thesis investigates the artistic and anatomical practices taking place between circa 1768 and 1810, primarily in the context of the Royal Academy of Arts. In focusing on the educational components of anatomical knowledge, the dissertation examines the style, methodology and the various types of private and public teaching available to artists and medical students during this period. In Chapter One, I examine the social, professional and demographic factors uniting artists and medical men. The social and professional divide that at one time kept such professions apart, was now being filled by informal gatherings. Neither artists nor anatomists however, were solely reliant on venues like the Royal Academy of Arts and private anatomy theatres. Such meetings often began in and around London's social milieu: the coffee-house culture. In Chapter Two, I go on to look at the curriculum used in the Royal Academy Schools. An artist pursuing studies in the human figure would attend life classes, anatomy lectures, dissections, and teachings on physiognomy. The Academy Schools were not immune to the medical and scientific influences of the eighteenth and early nineteenth centuries; the theories and practices of medical men infiltrated artistic training. Consequently, a number of private anatomy schools in the metropolis were open to both medical and art students. Other private drawing and dissecting classes had their own anatomical museums attached, providing art students with the opportunity of painting from pathological specimens. In Chapters Three and Four, I proceed to explore the part played by William Hunter, an obstetrician, anatomist and the first professor of anatomy at the Royal Academy of Arts. Hunter and Joshua Reynolds were in agreement concerning anatomical instruction for artists. It was an education consisting of a thorough knowledge of the human body, and the ability to translate such anatomical information on to a canvas. Discussed here also is Hunter's large obstetrical atlas, and the life-size painted panels of Gautier D'Agoty. I then proceed in Chapter Five, to examine the Plaister Academy. I examine its students, the curriculum and its teachers. While at the Royal Academy, William Hunter had access to the Plaister Academy and, as I suggest, it is here that he made his three-dimensional plaster of paris models of female anatomies. As a whole, it is the aim of this dissertation to have thoroughly explored the links between artists and anatomists in England between 1768 and 1810, and to have documented the rise and nature of art education in this period.
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Pierce, Alexandria 1949. "Imperialist intent - colonial response : the art collection and cultural milieu of Lord Strathcona in nineteenth-century Montreal." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84197.
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This thesis addresses the nineteenth-century art collection of Donald Alexander Smith, Lord Strathcona (1820--1914), in relation to intersecting questions of imperialism, colonial relations, and cultural status. Both the formation of the collection and its dispersal are linked to a dialectic of cultural hegemony and national identity in nineteenth-century Canada. Smith came penniless to Montreal from Scotland in 1838, became the wealthiest man in Canada by the end of the century, and is known as Lord Strathcona after being raised to the peerage by Queen Victoria in 1897. My discussion of the rise and fall of Strathcona's collection is informed by postcolonial theory and its critical re-reading of imperialism. While British imperialism was the ideology that governed Strathcona's activities, Anthony Giddens's structuration theory is introduced to account for how personal agency remains operative within this dominant ideology.<br>Strathcona formed a significant collection of European paintings and Asian art, which was, however, largely dispersed by the institution charged with its care, thus reducing its significance. Krzysztof Pomian's concept of collectors as select individuals who mediate symbolic cultural power through semiotic constructs provides an important methodological anchor for an analysis of the collector and his collection, as does Carol Duncan's work on the motivation to collect art and to structure cultural identity through control of museums. As well, the princely model of collecting reveals the humanist values operative throughout the centuries by comparison of Strathcona to the Medici in terms of the deployment of spectacle.<br>This thesis makes use of primary source materials to compare Strathcona's collection to several of his peers in order to place him in his cultural milieu during a time in Canadian history when Montreal was a British enclave in a French province. Analysis of fragmented primary source inventories, catalogues, personal letters, and records held by the Montreal Museum of Fine Arts and the National Archives of Canada, identification of paintings documented in the Notman photographs of 1914--1915, and my tracing of the public portraits of Strathcona by Robert Harris still on view in Montreal institutions allowed me to create useful inventories that previously did not exist.
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Kimata, Motokazu. "Les colonnettes ornées du portail royal de la cathédrale de Chartres : origines et diffusion d'un motif architectural." Paris 1, 1987. http://www.theses.fr/1987PA010556.
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L'étude des colonnettes ornées de sculptures, placées entre les statues colonnes, du portail royal de la cathédrale de Chartres (milieu du XIIe siècle) permet à la fois d'approfondir notre connaissance de la sculpture chartraine et de la situer mieux dans le contexte monumental contemporain<br>A study of the sculptured colonnettes between the statues-columns of royal portal of Chartres cathedral permits to have a more enlarged knowledge about the sculpture of Chartres and to locate it better in the contemporary monumental context