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Dissertations / Theses on the topic 'Queer art history'
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Carroll, Michael Jeffrey. "Preserving Queer Legacies in Archives and Art." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/582084.
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Art History<br>M.A.<br>Queer artists have engaged archives throughout modern and contemporary American art, but art historical discourse of their work has centered the writing of Jacques Derrida and Michel Foucault to theorize these spaces without considering archival scholarship. This text takes up Gabriel Martinez’s Archive series as a case study to critique archival selection theory and better understand how prejudice has affected the preservation of queer folx’s collections. Martinez’s series is situated amongst other Western artworks that center archival records and queer themes throughout the last century. This section places his artwork in dialogue with other artists for whom the archive is the subject of their artwork. The artworks detailed exemplify the multiplicity of ways that queer folx critique and interpret the histories preserved in these institutions.
Following this survey of art is an analysis of how archival records are selected for preservation and the inherent subjectivity of this task. Pedagogical writing on archival selection by Frank Boles, Richard Cox, and James O’Toole are consulted to better understand how archivists working in the field are taught to handle this type of work. Most of their writing is focused on traditional archives and fails to articulate the challenges facing counterarchives, spaces formed to compensate for the erasure of queer persons in traditional institutions. This review of archival scholarship ends with a critique of how queer counterarchives have fallen short of their inclusive aims.
The final section of this text is dedicated to a close study of Martinez’s Archive series. His photographs document the Harry R. Eberlin photograph collection and the John J. Wilcox, Jr. Archives in Philadelphia. The historical context of the Eberlin collection and the founding of its host repository are presented in conjunction with Archive series because Martinez’s compositions are inseparable from these histories. Philadelphia queer culture in the 1970s and 1980s is revealed through the retelling of these histories and by examining who was visualized in the images themselves. These images of bars and events simultaneously reveal the gender and racial disparity of patronage within these spaces and exemplify long-standing tensions in the city’s queer spaces. Lastly, this text posits a practice called “pseudo-processing” where artists document and preserve facsimiles of archival records to question the divisions of archival labor from that of an artist performing comparable tasks.<br>Temple University--Theses
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Aramphongphan, Paisid. "Inefficient Moves: Art, Dance, and Queer Bodies in the 1960s." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467507.
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This dissertation examines the intersection of art, dance, and queer sociality though Andy Warhol, Jack Smith, and their lesser-known contemporary, Fred Herko, a dancer and choreographer. Traversing art history, dance studies, and queer theory, this study uses analyses of movement, gestures, and embodiment as a bridge between the artistic and the social. In film, photography, and dance, these artists not only made art as queer artists, but their work stemmed from the form of sociality of their communities—the social and creative labor spent on seemingly unproductive ends, such as lounging together on a sofa, posing in performative-social studio sessions, or dancing in an improvised performance-party. Gestures and embodied experience became both the site of the art, and the site of the production of queer subjectivity in this watershed decade for art and queer histories. To unpack their cultural significance, I draw on the work of anthropologist Marcel Mauss on “techniques of the body,” and recent scholarship on embodiment and subjectivity. I propose queer gestures as dances of “inefficiency” in the Maussian sense, that is, as techniques of the body that do not confirm or sustain the social scripts of somatic norms. Given the contemporaneous debates about work, leisure, and alienation in the 1960s, inefficient techniques—as represented in the recurrent motif of the recumbent, languorous male body, for example—can also be read as a critique of industrial efficiency and heteronormative definitions of (re)productivity. Through this focus on bodily techniques, I open up a dialogue between this “underground” body of work with contemporaneous artistic milieus in which the body played an important role, including in 1960s sculpture, proto-feminist practices, postmodern dance, photography, and experimental theater.
Throughout I also foreground the intertwinement of dance culture and queer culture. Drawing on Eve Kosofsky Sedgwick’s reading of the psychoanalyst Melanie Klein, this study interprets artistic practices through a reparative lens, drawing together a queer repertoire made up of inefficient moves—just as the artists’ engagements with, and making of, dance culture and queer culture were reparative: an accretive practice of assemblage for imaginative and embodied sustenance.<br>History of Art and Architecture
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Powers, Julie Rae. "Queer in the Holler." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461086849.
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Denning, Catherine. "Departing from History: Sharon Hayes, Reenactment and Archival Practice in Contemporary Art." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19726.
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This thesis addresses reenactment and archival practice in the work of Sharon Hayes, a mid-career multi-media artist renowned for her use of archival documents to pose questions about history, politics, and speech. I do this through analyses of two of Hayes’s projects: the series In the Near Future (2005-2009) and a series of projects the artist refers to as “love addresses.” While these projects appropriate and repeat historical documents, Hayes’s work is especially interesting for the way it emphasizes difference over authenticity and explores the ways meaning shifts across temporal, geographic, and social contexts.
In contrast to scholars who argue that Hayes’s practice is nostalgic and serves to decontextualize and depoliticize history, my thesis argues that the pedagogical aspects of Hayes’s work and her performative engagements with historical material are deeply political and contextual. My thesis demonstrates that Hayes’s distinctive contribution is to model historical agency and imagine alternative futures.
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Silver, Erin. "Sites unseen and scenes unsighted: histories of feminist and queer alternative art spaces, ca. 1970-2012." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119481.
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Histories of North American feminist, queer, and queer feminist art can be traced in relation to a history of the institutions, organizations, and structures that have helped to secure and legitimize feminist and queer art practices. My dissertation provides a queer feminist historiographical analysis of key feminist and queer alternative art spaces in three North American cities, in an effort to both affirm their enduring historical significance and to delineate the ways by which the present day histories of past queer and feminist practices support or challenge the dominant narrative lens through which the histories have come to be read. With focus on the 1970s feminist art movement in Los Angeles, the underground queer art communities formed in New York City in the 1980s and continuing into the mid-2000s, and the burgeoning queer feminist cultural communities working in the present day in Montreal, I show how the socio-political conditions of each place have resulted in divergent paths among the institutions. Putting each history into dialogue with contemporary queer feminist initiatives and interventions, I demonstrate how queer feminism can work, in the present day, both to secure the historical significance of these spaces and to critically engage histories of exclusion as integral to their continued relevance.<br>On peut retracer l'histoire de l'art féministe, de l'art queer ainsi que de l'art queer et féministe en Amérique du Nord à travers une histoire des institutions, des organisations et des structures qui ont contribué à garantir et légitimer les pratiques d'art queer et féministe. Ma thèse offre une analyse historiographique queer et féministe des espaces d'art alternatifs, féministes et queer clés dans trois villes nord-américaines, de manière à affirmer leur portée historique tout en délimitant les façons par lesquelles l'histoire actuelle des pratiques queer et féministes du passé soutient ou remet en question l'optique du discours dominant à travers laquelle cette histoire en est venue à être lue. En me concentrant sur le mouvement artistique féministe des années 1970 à Los Angeles, sur les communautés underground d'art queer formées à New York dans les années 1980 jusqu'à la première moitié des années 2000 et sur les communautés culturelles queer et féministes émergeantes aujourd'hui à Montréal, je démontre comment les conditions socio-politiques présentes dans chaque ville ont mené les institutions dans des trajectoires divergentes. En engageant chaque histoire dans un dialogue avec des initiatives et interventions féministes et queer contemporaines, je démontre comment le féminisme queer peut présentement participer tant à assurer l'importance historique de ces espaces qu'à aborder, de façon critique, les histoires d'exclusion comme étant une partie intégrante de leur pertinence continue.
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Leggett, MI. "Official Rebrand and the Importance of Queer Adornment." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1513361488674258.
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Forsell, Vincent. "In Plain Sight: Queer Symbolism Encoded in the Works of Marsden Hartley, Robert Rauschenberg, and Jasper Johns." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/593485.
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Art History<br>M.A.<br>Homoerotic images date back as early as 800 BCE in Persian art. Examples of homoeroticism in the arts continue in the works of the Greeks and Romans. A sharp decline in the subject coincided with the rise of Christianity and the demonization of homosexuality in Europe between 300-1000 CE. This notion of homosexuality as depraved and sinful behavior became embedded in European culture for over a millennium, and some parts of the world still believe this to be true. Criminalization of homosexuality forced most homosexual artists to hide any references to their own sexuality in their works, a practice known as “encoding,” which allowed for symbols to be hidden “in plain sight” and without context. Among the most prominent mainstream artists to utilize homosexual coding in his work was the modern American artist Marsden Hartley. Through the hidden symbols in the 1914-1915 “War Images” of his “Amerika” series, Hartley expressed his grief for his likely lover Karl van Freyberg, who had passed away following the outbreak of the Great War in 1914. Following in the footsteps of Hartley queer artists working in later generations utilized similar methods of encoding to express their sexuality in a guarded fashion. Operating in the 1950s and 60s, the artists Robert Rauschenberg and Jasper Johns used varying methods of encoding to disguise references to their sexuality in their work. Such encoding would become a major theme of the “queer aesthetic,” where queer artists encoded symbols through semiotic methods such as floating or dual signifiers to convey their homosexuality in a covert way. In pioneering the concept of encoding, Marsden Hartley gave several generations of artists a means of expressing their sexuality in their works without being fully “out of the closet,” or revealing their sexual identity.<br>Temple University--Theses
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Garel, Stefan Jack. "Queer bodies and settlements : the pertinence of queer theory in the fields of queer history and trans politics, disability and 'curative education', quantum physics and experimental art : an interdisciplinary and transnational account of three socio-cultural and filmic research projects." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/55613.
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What is queer? What is queer? What is queer theory? Where can it go from here? This thesis sets out to explore the origins and influences of queer theory before investigating the present and the future spaces (ie, bodies and settlements) it can potentially move into. Three distinct experiments of fieldwork and ethnographic filmmaking test the truths and potentialities of queer theory when relating to queer bodies and settlements. That is to say that each chapter balances a film and its supporting text by embracing the value and urgency of practice led research. The first chapter questions queer history and details the importance of emerging trans politics in the post-gender, leftist, avant-garde, queer activist and militant space of Bologna. Queer bodies, case one: transgender and transsexual perspectives. Settlements, case one: Bologna and Lido di Classe (Italy). The second chapter considers the interface between disability theory and queer theory with particular attention paid to the practical theory of ‘curative education’. Defined by Rudolf Steiner in 1922 and further developed by Karl König with the foundation of the Camphill movement in 1944, curative education privileges the social model over the medical model in the field of disability so that disability is in fact ability. Queer bodies, case two: learning differences and disabilities perspectives. Settlements, case two: Berlin (Germany), Chatou and La Rochelle (France), Barry and Glasallt Fawr (Wales, United Kingdom). The third chapter uses queer perspectives to promote the relevance of quantum physics to the human body, thus involving contemporary dance, physical theatre and the arts more generally to address and redress the chiasm between science and technology on the one hand, and arts, humanities and socio-cultural sciences on the other. Queer bodies, case three: the inescapably queer reality of the physical world. Settlements, case three: multiple locations in Tuscany (Italy), and Thamesmead, London (England, United Kingdom). This thesis brings notions of queer and otherness deceptively close to notions of the self. Otherness and queerness become mirrors in which our own queerness comes into view.
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Rénéric-Chauvin, Marilyn. "Relecture des multiples facettes du féminin sacré et profane." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30016/document.
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L’Art a toujours consacré une grande part à l’image du féminin. Que cela soit dans l’iconographie gréco-romaine ou judéo-chrétienne, ses multiples représentations sont synonymes de confusion et d’ambivalence. La femme et l’image ont en commun de susciter méfiance et fascination. C’est au travers de l’étude approfondie de quelques figures clefs de l’histoire de l’art, que nous vous proposons une relecture post-féministe des diverses facettes du féminin, prises dans la dyade sacré/profane. Mythes et croyances donnèrent naissance à un métissage pagano-chrétien qui fit émerger un Eternel Féminin inébranlable encore très prégnant dans l’art actuel. Tantôt dans la foi de l’image, tantôt dans sa condamnation, ainsi se résume l’insoluble combat entre l’humain et le divin. La Femme restera à jamais l’élément trouble associé au paraître et à la beauté. Dans nos recherches nous avons constaté que la femme et la peinture sont en parfaite adéquation. Elles sont indissociables car iconoclasme et misogynie vont souvent de pair. Peu à peu, le corps remplacera la toile et le fard, la peinture pour les artistes transgenres. Dans d’étranges (queer) parodies entre exhibition et chamanisme, ils réinventeront leur devenir-féminin. La surface de l’œuvre devient alors le miroir où se reflète cet Autre, alter ego tant recherché. La pensée féministe se met en marche au travers des révolutions des genres et des sexes. Ainsi, c’est entre Pygmalion et Narcisse que les artistes des XXéme et XXIéme siècles, nous offrent, entre mascarade et mélancolie, la vision d’un idéal sans original. Enfin, nous revenons sur l’art des femmes. Leurs pratiques sont souvent borderline, partagées entre violence, humour et Charis dans leur quête d’un sacré hors religion. Elles offrent un devenir-pandorien de l’art pour briser à jamais le désormais trop célèbre : « Sois belle et tais toi! »<br>A large percentage of art has always been devoted to the images of the feminine. In Greco-Roman as well as in Judeo-Christian iconography, these multiple representations are synonymous with confusion and ambivalence. The common link between woman and her image is the ability to arouse distrust and fascination. By means of an in-depth study of some key figures from the history of art, we hereby put forward a post-feminist review of the diverse facets of the feminine, viewed under the sacred/secular dyad. Myths and faiths gave rise to a pagan-Christian hybrid, bringing forth a constant “Eternal Feminine” that is still firmly rooted in contemporary art. It is sometimes the faith of the image, sometimes its condemnation, that encapsulates the unresolvable fight between the human and the divine. Woman will remain forever the obscure element that is associated with appearance and beauty. In the course of our research, we ascertained that woman and painting are in perfect harmony; they are inseparable because iconoclasm and misogyny often go hand in hand. Step by step, the body will replaces the canvas and the make-up, the painting of transgender artists. In queer parodies between exhibition and shamanism, they reinvent their transformation into the feminine. The surface of the work becomes a mirror that reflects this Other, the alter ego, so longed for. Feminist thinking is set in motion through the revolutions of genders. Artists of the 20th and 21st centuries offer us a vision of an ideal without an original, a new Pygmalion or Narcissus, somewhere between masquerade and melancholy. Finally, we return to the art of the women. Divided between violence, humour and charis, their methods are often borderline, in their quest for the sacred that is beyond religion. They offer to evolve into “pandorien” art to shatter for ever the henceforth overly famous idea: «be beautiful and remain silent! »
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Enarsson, Stina. "Upplysa, upphetsa, uppmana eller utmana : Vad var syftet med Abdullah Buharis homoerotiska miniatyrmålningar?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-97307.
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This essay is primarily focusing on finding the purpose of Abdullah Buhari’s homoerotic miniature paintings. We may never know for sure the sole purpose and know what Buhari’s intentions was when creating these paintings. By creating categories focusing on homoerotic artwork I have tried to answer that question. To be able to create these categories and to further use them as a tool to analyse and discuss Buhari’s artwork, I have analysed and discussed other homoerotic art from different genres and eras and looked for significant characteristics and elements in these work of art that can be connected to each respective category. To support these characteristics and these different categories I have refered to existing research and literature. Although Buhari is mostly known for his artwork portraying women, I chose his homoerotic art as my main focus. Mainly because I was positively surprised when I first saw them and also because I found the lack of references to these homoerotic art rather puzzling. How come one primarily focus on Buharis portrayal of women and heterosexual relations when talking of him and not those portraying manly relations? Since my main focus in this essay, was to analyse art portraying sexual relations between men, and because there are significantly more sources and studies regarding same sex relationship between men I have chosen not to include work portraying woman and lesbian relationships, although a female perspective will be present to some degree since I identify as female myself.
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Fikrig, Michelle Marie. "Haunted by Solitude: Isolation and Communal Representation in Zanele Muholi's Archive." Oberlin College Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1527685493796687.
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Chauvin, Marilyn. "Relecture des multiples facettes du féminin sacré et profane." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00742988.
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L'Art a toujours consacré une grande part à l'image du féminin. Que cela soit dans l'iconographie gréco-romaine ou judéo-chrétienne, ses multiples représentations sont synonymes de confusion et d'ambivalence. La femme et l'image ont en commun de susciter méfiance et fascination. C'est au travers de l'étude approfondie de quelques figures clefs de l'histoire de l'art, que nous vous proposons une relecture post-féministe des diverses facettes du féminin, prises dans la dyade sacré/profane. Mythes et croyances donnèrent naissance à un métissage pagano-chrétien qui fit émerger un Eternel Féminin inébranlable encore très prégnant dans l'art actuel. Tantôt dans la foi de l'image, tantôt dans sa condamnation, ainsi se résume l'insoluble combat entre l'humain et le divin. La Femme restera à jamais l'élément trouble associé au paraître et à la beauté. Dans nos recherches nous avons constaté que la femme et la peinture sont en parfaite adéquation. Elles sont indissociables car iconoclasme et misogynie vont souvent de pair. Peu à peu, le corps remplacera la toile et le fard, la peinture pour les artistes transgenres. Dans d'étranges (queer) parodies entre exhibition et chamanisme, ils réinventeront leur devenir-féminin. La surface de l'œuvre devient alors le miroir où se reflète cet Autre, alter ego tant recherché. La pensée féministe se met en marche au travers des révolutions des genres et des sexes. Ainsi, c'est entre Pygmalion et Narcisse que les artistes des XXéme et XXIéme siècles, nous offrent, entre mascarade et mélancolie, la vision d'un idéal sans original. Enfin, nous revenons sur l'art des femmes. Leurs pratiques sont souvent borderline, partagées entre violence, humour et Charis dans leur quête d'un sacré hors religion. Elles offrent un devenir-pandorien de l'art pour briser à jamais le désormais trop célèbre : " Sois belle et tais toi! "
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Renard, Johanna. "Poétique et politique de l’ennui dans la danse et le cinéma d’Yvonne Rainer." Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20032/document.
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Danse, performance, cinéma, écrits théoriques et poétiques : dans la multiplicité de sa création artistique et intellectuelle, Yvonne Rainer s’impose comme une artiste cardinale dans l’histoire de l’art. Instigatrice du changement de paradigme postmoderne en danse, elle arrache le geste ordinaire à la vie quotidienne pour le placer au cœur de la création chorégraphique, en radicale juxtaposition avec des textes, des images et des objets. À partir des années 1970, elle émerge parmi les figures centrales du cinéma expérimental et indépendant en dialogue avec les théories et les luttes politiques féministes, queer et postcoloniales. Cette thèse explore la place de la subjectivité et de l’émotion dans la danse et le cinéma de Rainer. En effet celle-ci a impulsé un renouvellement radical du matériau affectif dans la pratique artistique en l’envisageant comme un fait, une réalité objective. Dans un contexte où l’ennui agit comme un style affectif dominant au sein de l’avant-garde artistique américaine après 1945, l’artiste propose une expérience matérielle sensible, générant une conscience décuplée du temps et plaçant son public dans cette disposition affective à la fois pesante, froide et ordinaire. Puis, en résonance avec le cinéma des femmes, elle investit l’ennui à la fois comme une dynamique de subjectivation et comme une stratégie de subversion. En naviguant entre les dimensions individuelles et collectives de l’émotion, la thèse explore les enjeux esthétiques, politiques et subjectifs de l’ennui dans l’œuvre de Rainer<br>The multiplicity of Yvonne Rainer’s art and intellectual works - in dance, performance, film, theoretic and poetic writings - makes her one of the essential artists in the history of art. As instigator of the post-modern paradigm shift in the dance scene, she pulled out movements from everyday life and put them at the core of her choreographic work, creating a radical juxtaposition to texts, pictures and objects. In the seventies, she became one of the main figures of experimental and independent cinema. Her polyphonic and reflexive cinematographic works entered in a dialogue with feminist, queer and postcolonial theories and struggles. The present thesis explores the notion of subjectivity and emotion in the film and dance of Rainer. Indeed, she has given the impulse for a radical renewal of the use of emotional material, which she considered as a given fact and an objective reality, in the artistic practice. In a context where boredom imposed itself as the dominant emotional style in the American artistic avant-garde after 1945, the artist offered a sensitive material experience. In particular, she created an acute conscience of time and put her audience in a specific emotional disposition, boredom, that can be described as tedious, cold and ordinary altogether. Then, in echo with women’s cinema, she explored boredom both as a process of subjectivation and as a strategy of subversion. Navigating between individual and collective dimensions, this research explores the aesthetic, political and personal stakes around the expression of boredom in Yvonne Rainer’s work
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Turkeli, Sureyya. "What is anarchism? : a reflection on the canon and the constructive potential of its destruction." Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/10266.
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Contemporary debates in anarchism, particularly the conceptual debates sparked by the development of post-anarchism and those surrounding the emergence of the anti-globalization movement, have brought an old question back to the table: what is anarchism? This study analyzes the canonical representations of anarchism as a political movement and political philosophy in order to reflect on the ways in which that critical question, 'what is anarchism?' has been answered in mainstream literature. It examines the way that the story of anarchism has been told and through a critical review, it discusses an alternative approach. For this purpose, two seminal canon-building texts, Paul Eltzbacher's The Great Anarchists, and George Woodcock's Anarchism have been identified and their influence is discussed, together with the representations of anarchism in textbooks describing political ideologies. The analysis shows how assumptions, biases, and hidden ideological perspectives have been normalized and how they have created an official history of a political movement. In challenging the official account, this study highlights the exclusions and omissions (third world anarchists, women anarchists, queer anarchism and artistic anarchism) that have resulted in the making of the core. The question of how to tell the story of anarchist past carries us to the shores of postmodern history where theoreticians have been discussing the relationship between past and history and the politics of representation. The anarchism offered in this study demands an engagement with a network-like structure of information rather than a linear, axial structure. Consequently, this study aims to show several layers of problems in the existing dominant historical representation of one of the richest political ideologies, anarchism; and then to discuss ways of representing the past and especially the anarchist past, to seek an answer to a principal question: what is anarchism?
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Adams, Amanda Dalla Villa. "“An Alternative Narrative: Memorial Culture, Mourning, and Death in the Work of Felix Gonzalez-Torres, 1987-1995”." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305892175.
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Davenport, Jeremiah Ryan PhD. "From the Love Ball to RuPaul: The Mainstreaming of Drag in the 1990s." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1499363704491381.
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Mancilla, Valdez Esmeralda. "Pour un art biocritique : sexualité et action politique." Phd thesis, Université Panthéon-Sorbonne - Paris I, 2013. http://tel.archives-ouvertes.fr/tel-00986153.
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Résumé. L'art intègre parfois dans ses processus créatifs les témoignages corporels, sexuels, personnels et subjectifs/subjectivants de l'artiste, mais aussi de sujets sociaux qui s'opposent aux constructions sociales et culturelles imposées par le(s) biopouvoir(s) hégémonique(s). Cette thèse présente un art biocritique capable de reconnaître la potentialité esthétique et artistique des témoignages et des vécus qu'il intègre en tant que matériel plastique à sa biocritique artistique. Elle a pour objectif de proposer une théorie et une méthode de déconstruction esthétique permettant d'observer et de rendre observable les potentialités esthétiques des corporalités et sexualités subjectivantes considérées comme " abjectes " par le biopouvoir en tant qu'actions biocritiques esthético-politiques. Pour ce faire, le présent travail a mis en valeur la potentialité esthétique de l'autoérotisme et de l'orgasme, en tant qu'actions biocritiques menées dans le cadre de " l'Œuvre multiorgasmique collective ".
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Pollock, Asher W. "Phase Shift." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492781853322151.
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Petrus, John Stephen. "Gender Transgression and Hegemony: the Politics of Gender Expression and Sexuality in Contemporary Managua." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429609857.
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Ionescu, Daniela. "The Romanian Blouse| From Matisse to Queen Marie of Romania and Yves Saint Laurent." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10979593.
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<p> Between 1937 and 1943 the Romanian blouse plays a more pivotal role than previously acknowledged in Matisse's development of a pictorial sign language. Its embroidered oak leaf motif eventually evolves into an abstract symbol of <i>élan vital</i> that animates the artist's late cutouts. By tracking the Romanian blouse, this thesis offers a counter-narrative to the standard monographic study or formal reading of Matisse’s work. We learn the back story of how the blouse becomes a fashion trend set by Queen Marie of Romania who used her celebrity and national dress to promote the welfare of the Romanian people following WWI. We also see how appropriation turns into misappropriation when fashion designer Yves Saint Laurent’s 1981 collection inspired by Matisse’s images of the blouse introduce a broadly defined ethnic fashion into haute couture.</p><p>
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Popp, Nathan Alan. "Beneath the surface: the portraiture and visual rhetoric of Sweden's Queen Christina." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/576.
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Stearns, Shannon Emily. "The Collection of Queen Christina of Sweden: Repurposing Ancient Iconography to Redefine Modern Queenship." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/403153.
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Art History<br>M.A.<br>In this paper, I analyze the life and collection of Christina, Queen of Sweden (1626-1689), as a complex and shifting performance of gender, authority, and other aspects of identity. I argue that Christina’s education and life experiences actively informed her collecting preferences for certain types of mythological figures, which became an effective tool of her self-fashioning as a ruler who broke away from what she viewed as the confines and expectations of her gender. I will demonstrate how her strategies as an astute patron and collector of the arts were central to her subversive presentation as an almost androgynous self-exiled ruler in Rome, who could emulate both male and female virtues equally in order to transfer her former political power to new social and cultural capital. Christina’s collection, newly assembled in the Palazzo Riario in Rome, served this purpose by creating a controlled environment that enforced particular relationships between collector and spectator, spectator and collected objects, as well as among the objects themselves. This thesis weds the various theories of Queen Christina and her collection into a comprehensive theory of her larger project of self-fashioning, arguing that her collecting practices regarding both ancient and contemporary works followed a cohesive philosophy in her politics of collection and display, even while largely challenging the decorum of female patronage. Christina’s self-promoted identity as Minerva of the North forces the viewer to contemplate the items in the collection both on their own and in conversation with one another as part of a larger display. In the nudes of the Stanza dei Quadri on her second floor, as well as the antiquities featured on the ground floor, Christina used the relationship between images and sculptures to create an allegorical pantheon focused on her own self-control and authority. In understanding objects’ interactivity, it is possible to interpret Christina’s renovations to the Palazzo Riario and the display of her collection as a modern day Parnassus or Arcadia, which she used to establish her Roman home as a primary location of scholarship and creation. The contents and display of her collection extended her desired persona as a leader of wisdom and user of knowledge not easily bound by the constraints of either gender. The metaphorical space of Arcadia that she created strengthened her alignment with Minerva, the goddess of wisdom and warfare, and implicitly also with Apollo, who presided over Parnassus. In the case of Queen Christina, we have found that in addition to the personal prestige associated with obtaining valued items, the display of these items in a kind of curated space added value and meaning to the viewing experience.<br>Temple University--Theses
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King, Taylor Z. "A Spectacle and Nothing Strange." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5905.
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Working through methods of abstraction and comedic mimicry I choreograph awkwardly balanced sculpture with objects of adornment as a means to defuse personal sensitivities surrounding my experiences of gender, desire, and home. The research that follows is concerned with the adjacent, the in between, above and underneath, because I feel that this kind of looking means that you are, to some degree, aware of what lies at the edges. Maybe this is what Gertrude Stein means to act as though there is no use in a center—because this concerns a way of relating, though there are many things in the room.
‘A spectacle and nothing strange’ is an arrangement of gestures, of made difference, of kinships, of orientations and possible futures, sustained tension, coded adornment, big dyke energy, shifts in hardness, leaning softness, much more than flowers, ...and in any case there is sweetness and some of that.
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Rehman, Sadia. "This is My Family: An Erasure." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492399220029598.
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Popp, Nathan Alan. "Expressions of power: Queen Christina of Sweden and patronage in Baroque Europe." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1999.
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Queen Christina of Sweden (1626-1689) utilized art in many ways to promote herself and assert power in Baroque Europe. Previous scholars have addressed either Christina’s use of art to safeguard authority as Swedish regnant, or her expressions of sovereignty as an erstwhile Protestant queen in Rome, but no scholarship to date has addressed the topic of how Christina’s patronage developed, or explored how motifs employed early on later reappeared. This dissertation brings together both sides of the equation to provide a comprehensive understanding of how Queen Christina’s patronage developed in Stockholm, and how her approach evolved as she became a fixture in Rome.
The deployment of the arts was necessary to assert Christina’s authority in a patriarchal environment and ultimately, to politically legitimize herself as an independent royal woman. An initial review of royal imagery of her father King Gustav II Adolf (1594-1632) provides the background for examination of early patronage promoting Christina, which drew upon Gustav’s precedents while beginning to establish her as a majestic leader in her own right. Originally the queen’s autonomy was limited by a constitutional rewrite as others steered her image for their own benefit, but Christina matured to make her own choices and developed an approach to patronage that continued throughout her life.
My research contributes to our understanding of Christina’s development as art patron by examining commissions that counteract this administrative system that restrained her sovereignty. Portraits from her majority rule relied on iconography and visual rhetoric to influence a select audience, while her coronation and abdication proceedings, by contrast, were multisensory public events that broadly proclaimed her capacity to rule. Hence my analysis ranges from the subtle reading of particular images to taking stock of the language of sheer pageantry of those more public visual displays.
After abdication Queen Christina had virtually no political clout, but as dowager regnant, she wielded art and patronage to maintain social standing and power. My research considers how Christina deployed the arts to craft her public persona and express her individuality within the male-dominated political structure of the Vatican even as others played off her remarkable abdication with patronage of their own. Christina’s approach was based on precedents developed in Sweden, and she applied them to her Roman situation with varied success. Through many challenges, scandals, and adversities, art was a potent vehicle both for Christina and for those around her to capitalize on her unique status in the history of Baroque Europe.
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Hale, Catherine Meredith. "Asante Stools and the Matrilineage." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11004.
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Discussions of Asante stools in Western literature and museum records have focused exclusively on their association with male chiefs. My research, which combines archival and oral histories, and sets the existing literature and documentation on stools in comparative perspective, reframes existing thinking by asserting that asese dwa (sing. sese dwa), or conventional Asante stools, are intimately connected with women, and especially, queen mothers. Although the stool today is known widely as a symbol of male chieftaincy, chiefs do not sit on them in public. They use them only in very specific private spheres. It is queen mothers who sit on stools publically as seats of authority. The physical form of the stool, especially the mmaa dwa or "woman's stool" is a powerful symbol of female fecundity and the propagation of the Asante peoples. By exploring queen mother’s archives of stools and their dynamic uses of them, I present a more expansive history of these important cultural objects that challenges the taxonomies established by R. S. Rattray (1927) and others during the twentieth century. Contrary to the clearly defined hierarchies of symbolism, materials and structure that have informed assessments of historical stools in the West, Asante queen mothers have commissioned and used stools in an ongoing and context-dependent process of negotiation for at least a century. In this dissertation I explore the history of Asante stools since the late-nineteenth century through the lens of queen mothers’ perspectives.<br>History of Art and Architecture
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Faust, Kimberly M. "A Crisis in Regal Identity: The Dichotomy Between Levinia Teerlinc’s (1520-1576) Private and Public Images of Queen Elizabeth I (1533-1603)." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116614443.
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Kessler, M. David. "Establishing a History and Trajectory of LGBT and Queer Studies Programs in the American Research University: Context for Advancing Academic Diversity and Social Transformation." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804893/.
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The system of higher education in the United States of America has retained some of its original character yet it has also grown in many ways. Among the contemporary priorities of colleges and universities are undergraduate student learning outcomes and success along with a growing focus on diversity. As a result, there has been a growing focus on ways to achieve compositional diversity and a greater sense of inclusion with meaningful advances through better access and resources for individuals from non-dominant populations. The clearest result of these advances for sexual and gender diversity has been a normalization of lesbian, gay, bisexual, transgender, and queer (LGBTQ) identities through positive visibility and greater acceptance on campus. However, it appears that relatively few institutions have focused on improving academic diversity and students’ cognitive growth around LGBTQ issues. Through historical inquiry and a qualitative approach, this study explored the fundamental aspects of formal LGBTQ studies academic programs at some of the leading American research universities, including Cornell University, the University of Maryland, College Park, and the University of Texas at Austin – a purposeful sample chosen from the Association of American Universities (AAU) member institutions with organized curricula focused on the study of sexual and gender diversity. The analysis of primary and secondary sources, including documents and interviews, helped create historical narratives that revealed: a cultural shift was necessary to launch a formal academic program in LGBTQ studies; this formalization of LGBTQ studies programs has been part of the larger effort to improve the campus climate for sexual and gender diversity; and there has been a common pattern to the administration and operation of LGBTQ studies. Clearly, the research shows that LGBTQ studies, as a field of study and formal curriculum, has become institutionalized at the American research university. A key outcome of this research is the creation of a historiography of curricular development around sexual and gender diversity at a sample of premier research universities. This work also begins to fill the gap in the study of academic affairs at the postsecondary level of education related to LGBT and queer studies and the organization and administration of learning about diversity and inclusion. Ultimately, the results of this study can influence the continued advancement and maturity of this legitimate field of study as well as academic diversity and social transformation around sexual and gender diversity.
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Hageman, Carolyn A. "The Unlikely Road to Success: The Life and Career of Watercolorist William Leighton Leitch." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1386083716.
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Elias, Svedberg. ""We are the baddest girls!" : Om queerfeminin representation i filmen Stonewall (2015)." Thesis, Stockholms universitet, Institutionen för etnologi, religionshistoria och genusvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-141654.
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This thesis examines queer feminine representation in the movie Stonewall (2015). One aim has been to analyse if and how the queer feminine characters have been constructed in a negative way based on hegemonic ideas about queer femininity. Another aim has been to analyse if and how the queer feminine characters can be recognized in a way that is subversive in relation to these hegemonic ideas. The material consists of the fictional movie Stonewall (2015), produced by Roland Emmerich, which is inspired by ”the Stonewall riots”. The Stonewall riots was a series of violent demonstrations carried out by queer people against the police that broke out on June 28th 1969 in New York City. Stonewall Inn was the name of the bar where the riots started, hence the name ”Stonewall”. My theoretical perspectives is based on theories about cultural dominance and deconstruction. My methodology consists of two different readings of the movie in line with the thesis’ two aims. The first reading shows that the queer feminine characters are represented in different negative ways in the movie based on hegemonic ideas of queer femininity. One example is how the older queer feminine characters are portrayed as sexual offenders and how their ”non-passing” femininity is made visible in different ways. Other findings in the thesis show how a deconstructive reading enables a different interpretation of the queer feminine representation. One finding shows how the queer feminine identity is used for provocation as a political strategy that turn a vulnerable position into a subversive position. Another finding shows how dreaming enable a space were the queer feminine characters can express themselves in a more freer way. My conclusions are that a deconstructive perspective enabled both a critique and a transformation of the hegemonic structures in my material. Because of lack of previous research on the historical construction of the Stonewall riots my thesis fill a knowledge gap. The thesis has relevance for gender studies as a field since it examines how norms of gender affect the writing of queer history.
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Edmundson, Joshua R. "THE ONE EXHIBITION THE ROOTS OF THE LGBT EQUALITY MOVEMENT ONE MAGAZINE & THE FIRST GAY SUPREME COURT CASE IN U.S. HISTORY 1943-1958." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/399.
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The ONE Exhibition explores an era in American history marked by intense government sponsored anti-gay persecution and the genesis of the LGBT equality movement. The study begins during World War II, continues through the McCarthy era and the founding of the nation’s first gay magazine, and ends in 1958 with the first gay Supreme Court case in U.S. history.
Central to the story is ONE The Homosexual Magazine, and its founders, as they embarked on a quest for LGBT equality by establishing the first ongoing nationwide forum for gay people in the U.S., and challenged the government’s right to engage in and encourage hateful and discriminatory practices against the LGBT community. Then, when the magazine was banned by the Post Office, the editors and staff took the federal government to court. As such, ONE, Incorporated v. Olesen became the first Supreme Court case in U.S. history that featured the taboo subject of homosexuality, and secured the 1st Amendment right to freedom of speech for the gay press. Thus, ONE magazine and its founders were an integral part of a small group of activists who established the foundations of the modern LGBT equality movement.
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Journée, Aurélie. "Artistes femmes, queer et autochtones face à leur(s) image(s) : pour une histoire intersectionnelle et décoloniale des arts contemporains autochtones aux Etats-Unis et au Canada (1969-2019)." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0105.
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Fin des années 1960 aux Etats-Unis, les Indians of All Tribes impulsent un mouvement de contestations sociales qui a pour but la reconnaissance des droits inhérents aux peuples autochtones à la souveraineté et à l'auto-détermination. L'American Indian Movement et sa branche féminine Women of All Red Nations s'emparent de ces questions sociales, politiques et culturelles. Femmes et hommes entament de concert un processus d'émancipation dont l'accomplissement ne cesse d'être repoussé par les politiques assimilatrices successives du gouvernement états-unien. Au Canada aussi, des mobilisations collectives éclatent dans les années 1980 et 1990, et culminent avec les événements de Restigouche (1984) et la Crise d'Oka (1990). Ces évènements majeurs inspirent toute une jeune génération d'artistes autochtones et de femmes en particulier, formées notamment à l'Institute of American Indian Arts à Santa Fe (Nouveau-Mexique). De formations universitaires approfondies, elles développent des démarches artistiques transdisciplinaires à mi-chemin entre l'histoire de l'art et l'ethnographie. Elles mettent en évidence la porosité et la friabilité des frontières instaurées dans tous les secteurs par la société dominante contre les groupes considérés comme minoritaires. A cette fin, le photographique – par lequel nous désignons la pratique, la technique et l'image photographiques – devient un outil stratégique majeur de réappropriation et de réaffirmation de ce qu'elles sont et tendent à incarner. Ces artistes femmes interrogent grâce à ce médium les façons dont elles ont été représentées et se représentent elles-mêmes dans le cadre de démarches critiques des stéréotypes dont elles font l'objet depuis plusieurs siècles d'appropriation culturelle. Elles repensent par ce biais leurs identités, les rapports qu'elles entretiennent à leurs corps, à leurs sexualités et à leurs genres, à l'aune de leurs propres spiritualités. Grâce à leurs images artistiques et politiques, fruits de pratiques fondées sur une analogie entre la violation de leurs droits, l'exploitation de leurs terres et territoires, et les violences sexuelles dont elles font l'objet, elles continuent à prendre part aux mouvements de résistance actuels qui s'opposent aux projets extractivistes face auxquels elles s'affirment, une nouvelle fois, en première ligne. A partir d'un corpus iconographique de près de 400 œuvres réalisées entre 1969 et 2019, et d'entretiens individuels avec des artistes et des militantes femmes et queer autochtones des Etats-Unis et du Canada, cette thèse a pour objectif de montrer en quoi ces images – en particulier photographiques configurent des épistémologies nouvelles dans une perspective intersectionnelle, décoloniale et anticapitaliste, et s'inscrivent dans la continuité d'un processus de réaffirmation des droits inhérents des peuples autochtones, garantis par la Déclaration des Nations Unies sur les Droits des Peuples Autochtones (2007)<br>In the late 1960s, the Indians of All Tribes lead a movement of social protests to get their rights to sovereignty and self-determination recognized as peoples. The American Indian Movement take over these political, social, and cultural issues. Together, Indigenous women and men start a process of emancipation that has been blocked by assimilationist US governmental policies. In Canada, collective movements also rise in the 80s and 90s, with the highest points during the Restigouche events (1984) and the Oka Crisis (1990). These major events inspire a whole generation of young Indigenous artists and women in particular, who study mostly at the Institute of American Indian Arts of Santa Fe (New-Mexico). Thanks to their education, they develop transdisciplinary artistic practices between art and ethnography that highlight the porosity and the flakiness of the borders that have been created in all the sectors by the dominant society against groups regarded as minorities. To do so, the “photographique” – that designates the photographic practice, technics and image – become a strategic technical and technological tool of reappropriation and reaffirmation of their identities and representation. These women and queer artists question, thanks to this medium, the ways they have been presented and re-represent themselves in the context of critical practices of the stereotypes that they have been facing for several centuries of cultural appropriation. It enables them to rethink their identities, the relationships to their bodies, their sexualities and genders, in terms of paradigms specific to their own spiritualities. Through artistic and political images, based on an analogy made between the violation of their rights, the exploitation of their lands and territories, and the feminicides perpetuate, they continue to take part in actual resistance movements against extractivist projects where they are again at the frontline. Based upon an iconographic corpus made of almost 200 artworks, through the 70s till now, and individual interviews with women and queer artists and militants from the US and Canada, this dissertation aims to show how these images – photographic in particular – try to set up new epistemologies in an intersectional, decolonial and anticapitalist perspective, as part of a process of reaffirmation of the inherent rights of Indigenous peoples, guaranteed by the United Nations Declaration on the Rights of Indigenous Peoples (2007)
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Choi, Hyejeong. "Mireuksa, A Baekje Period Temple of the Future Buddha Maitreya." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1431044236.
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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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Varnauskas, Jacob. "Homoerotisk sensibilitet : Byggandet av homosexuell identitet genom konsthistorien." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-432918.
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The question of homoerotic sensibility is, in the purpose of this thesis, a matter of visual language connected to the portrayal of male bodies. By identifying this sensibility throughout the western art canon the essay seeks to understand its origins, development and function in relation to expressions of power. With the introduction of theorists such as Alois Riegl, Laura Mulvey, Abigail Solomon-Godeau and Raewyn Connell, the aim is to deconstruct homosexual masculinity. Adapting formal analysis and parts of visual semiotics, the focus lies on the visual expression of power through the homoerotic gaze, and asks what consequences it has in forming homosexual identity. Greek antiquity is home not only to the ideals that foster western art history, but is also where we find early examples of same-sex affection being portrayed in the arts. Hence classical antiquity is so important for the homoerotic: whenever the classical language of style is popular throughout history, we are sure to find homoerotic sensibility. For reasons mentioned, the main periods analyzed are the Italian Renaissance, the French Neoclassicism and then, naturally the late 20th century onwards as this is the period of gay liberation and modern homosexual identity. By identifying classical acceptance of homosexual relations only in the form of a clear social hierarchy, we soon discover how homosexuality has appropriated the idea of binary difference within its masculinity throughout history. Accepting relationships only between erastes and eromenos, or man and ephebe, homosexuality is forced to exist only on the terms of difference of power. With classical ideals, these tendencies are recurring in the visual representation of male homosexuality, and becomes a big part of the liberation and forming of a modern identity in the late twentieth century. As a result of objectification of the male body, in combination with idealized and sexualized power, modern gay culture has in many ways embraced a destructive culture shaped by misogynist ideas of hegemonic culture, where sexual violence exists, but is not spoken of.
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Cobb, Morgan B. "Sex, Chastity, and Political Power in Medieval and Early Renaissance Representations of the Ermine." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1458578117.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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af, Klinteberg Kristina. "Diadem och identitet : En studie kring identiteter i kejsarinnan Josephines pärl- och kamédiadem." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-438810.
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This paper, on the identities shown in one of the cameos in Empress Josephine’s pearl and cameo diadem, has first of all focused on the mythological characters, and thereafter raised the question if these are to be seen as an allegory for people from the time. The process of identi-fication has followed the three levels in Panofsky’s method for analysing art, where the first and second levels consist of already known material from the Bernadotte Library, Royal Palace in Stockholm and the jeweller house of Chaumet (former Nitot et Fils) in Paris. To decipher both the mythological individuals and the possible allegories, that is the third level, the iconology itself, the thoughts and methods of Göran Hermerén on the rise and fall of allegories along with Leora Auslander’s solutions using visuals comparisons, when no written material is available, have provided the academic framework for the study. When comparing the cameo with pieces of art from the time, the subject fits the description of the Roman mythology’s love goddess Venus and her son Cupid, the lovechild fathered by Mars. Moving on to allegories, well-known material shows that Emperor Napoleon was keen to be portrayed as the god of war Mars and Empress Josephine as Venus. A portrait of special interest to the study, a rather private painting by Parent from 1807, which is probably still unknown to most people, shows how Josephine is depicted with a recently deceased grandchild, a young boy how was also the nephew of Napoleon’s, a close relative to them both, and in the line of succession to the throne, while Napoleon still was Emperor. This picture has an expression which is close to the one of Venus and Cupid, and it is also made to look like a cameo. These portraits were known at the time when Napoleon gave the diadem to Josephine in 1809. Among portraits from the Napoleonic era, there has earlier only been one known painting, even if in two examples, where the diadem is shown. It is a miniature of Empress Josephine, a work from her final period at Malmaison, 1814. However, another miniature picturing the daughter Hortense in the very same piece of jewellery, from 1812, has now become known. In both these examples, the depicted cameo has a hight measuring only millimetres, why a discussion on the execution and the rendering has to be done with restraint. But in the daughter´s portrait there is a certain attempt to show the outlines of the central cameo that differs from the later painting of the Empress. This may be an indication of how much more important it was for the daughter to relay the picture of her mother and the memory of her son, in 1812, than it was for Josephine in 1814, after the divorce, probably after the fall of Napoleon too, when she was no longer his Venus, and there was no longer a throne for any of her grandsons to inherit. Therefore, in short, the chosen methods give the answer that the mythology depicted is a scene of Venus and her son Cupid, and the allegorical interpretation of Venus is the Empress herself. The child in shape of Cupid here, may well be read as one of her daughter’s sons, at the time a much longed-for heir to the throne of Napoleon I.
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af, Klinteberg Kristina. "Ett diadem och dess ikonografi : En studie av kejsarinnan Josephines pärl- och kamédiadem i porträtt mellan 1812 och 2010." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-438793.
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The main purpose of this study of a pearl and cameo diadem, given by Napoleon to his first wife Josephine in 1809, is to follow its representation in portraiture from Paris in 1812 to Stockholm in 2010, and explore how the iconography develops during these 200 years. From the earlier years, the diadem is found only in miniatures, then after coming to the new royal family in Sweden, the Bernadottes, it is given a role of an heirloom representing history and families in grand paintings, arriving to the present well-known wedding hairpiece, covered by modern media, where the diadem is more of a crown than the open, forehead-covering piece of fashion jewellery it was during the Napoleonic era in France. The portraits from 1812, 1814, 1836, 1837, 1877, 1976, 2000/2003 and 2010 also portray a development of the female role model of its time. Just like the hair piece attains an iconography which comprises not only the highest dress codes but also a possibility of status transformation for the people involved in ceremony, the role of the country’s First Lady is about to change into a higher, more egalitarian position of present days.
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Weichel, ERIC. "Ladies-in-Waiting: Art, Sex and Politics at the Early Georgian Court." Thesis, 2013. http://hdl.handle.net/1974/7979.
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This thesis discusses the cultural contributions – artistic patronage, art theory, art satire - of four Ladies-in-Waiting employed at the early eighteenth-century century British court: Mary, Countess Cowper; Charlotte Clayton, Baroness Sundon; Henrietta Howard, Countess of Suffolk; and Mary Hervey, Baroness Hervey of Ickworth. Through a close reading of archival manuscripts, published correspondences and art historical treatises, I explore the cultural milieu, historical legacy and historiographic reception of these individuals. I argue that their writing reveals fresh insight on the switch from Baroque to Rococo modes of portraiture in Britain, as it does critical attitudes to sex, religion and politics among aristocratic women. Through the use of satire, these courtiers comment on extramarital affairs, rape, homosexuality and divorce among their peer group. They also show an interest in issues of feminist education, literature, political and religious patronage, and contemporary news events, which they reference through allusions to painting, architecture, sculpture, engravings, ceramics, textiles and book illustrations. Many of the artists patronized by the court in this period were foreign-born, peripatetic, and stylistically unusual. Partly due to the transnational nature of these artist’s careers, and partly due to the reluctance of later historians to admit the extent of foreign socio-cultural influence, biased judgements about the quality of these émigré painters’ work continue to predominate in art historical scholarship. While little-studied themselves, these Ladies-in-waiting were at the center of political, social and cultural life in Britain. Their letters therefore have much of value in reclaiming, not only their own contributions to the development of British cultural life, but those of the French or Francophile émigré artists patronized at court. By studying the work of these artists and the lives of their patrons, I examine the intersection between biography and artistic practice at the early eighteenth-century British court.<br>Thesis (Ph.D, Art History) -- Queen's University, 2013-04-29 03:14:47.731
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Cail, Isabelle. "Tomboys and Crossdressers de Sadie Lee, vers une esthétique butch." Thèse, 2017. http://hdl.handle.net/1866/20160.
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Weathers, Chelsea Lea. "Andy Warhol's cinema beyond the lens." 2013. http://hdl.handle.net/2152/21437.
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This dissertation examines a small selection of the hundreds of films made by Andy Warhol and his collaborators between 1963 and 1968. Each chapter contextualizes a particular aspect of Warhol's filmmaking in terms of the artistic and cultural circumstances that informed it. Through an analysis of the content of specific films, rather than just their formal or stylistic tendencies, I discuss how the filmmaking process might have functioned for those involved in the films' production, as well as how those films might have functioned for specific spectators. The first chapter is a speculation on how Warhol might have understood filmmaking as a method for creating concrete connections between feelings and things -- for collecting imagery with his camera in order to create a historical catalog of people and their emotions. This first chapter also considers how some art critics in the 1960s used Warhol's early silent films as exemplars for their own anti-formalist art-historical and critical discourses. The second chapter examines the relationship between Warhol's films and the proliferation of amphetamine use amongst his collaborators. Amphetamines functioned to perpetuate for its users a way of life based on an alternative conception of time, and often involved a continued engagement with bad feelings, which fueled much of the creativity of the artistic community whose locus was Warhol's Factory in the mid-1960s. As such, many of Warhol's films from this period exhibit what I term an "amphetamine aesthetic" -- visual clues that suggest the effects of long-term amphetamine use by its participants. The third chapter is an analysis of a single film, Lonesome Cowboys. Participants in the film's production used the conventions of the Hollywood Western film genre to create a circumscribed space for transforming their everyday lives and their relationship to contemporary politics in the late 1960s. All of these chapters explore the effects of Warhol's particular approach to filmmaking, which involved Warhol's own detached style of directing, as well as his cultivation of an ultrapermissive environment in which his collaborators -- actors, directors, writers, and technicians -- felt free to experiment. This environment was predicated on the idea that the boundary between the space in front of the camera and the world beyond it was simultaneously arbitrary and deeply imbricated. Such a fluid boundary between the world inside and outside the scope of Warhol's camera is in part why some spectators, watching his films a half-century after they were made, might still find new meanings for the present in the films themselves.<br>text
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Domingues, Joséphine. "Une lecture phénoménologique des nus féminins de Francis Bacon et Lucian Freud : vers une éthique identitaire." Thèse, 2018. http://hdl.handle.net/1866/22055.
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McCutcheon, Shawn. "Winckelmann et ses désirs (presque) secrets : amour entre hommes et idéaux de la masculinité à l’ère néoclassique (1755-1768)." Thèse, 2014. http://hdl.handle.net/1866/11952.
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L’étude des œuvres et de la correspondance de Johann Joachim Winckelmann, produites entre 1755 et 1768, offre un regard nouveau sur l’amour entre hommes au 18e siècle et sur sa relation à la construction de la masculinité. Le cas de Winckelmann illustre le caractère construit et changeant de l’érotisme. En effet, l’influence de l’exemple hellénique est visible dans le fantasme homoérotique qu’il élabora dans ses œuvres dans le but de s’expliquer ses désirs. L’Antiquité, par son autorité culturelle, représenta un espace relativement sécuritaire où Winckelmann put exprimer sa sensibilité homoérotique à laquelle le contexte occidental était alors très défavorable : la littérature antique exaltait l’affection entre hommes et sa statuaire, le corps masculin nu. Le fantasme que fit Winckelmann fut capital pour sa compréhension et la justification de ses relations avec d’autres hommes, surtout après son arrivée en Italie en 1755. Loin de se cantonner à la répression de l’homoérotisme par la société européenne des Lumières, le cas de Winckelmann en illustre le potentiel d’intégration partielle. En effet, l’originalité de Winckelmann tient à sa façon de communiquer ses idéaux homoérotiques dans des textes savants, tout en rendant sa perception du beau masculin et son amour des hommes socialement acceptables. Enfin, plusieurs indices dans les œuvres et la correspondance de Winckelmann portent à penser qu’il était conscient de sa différence et qu’il se constitua entre 1755 et 1768 une communauté discrète d’hommes aussi sensibles aux désirs homoérotiques.<br>Studying the works and letters of Johann Joachim Winckelmann written between 1755 and 1768 gives new insights on love between men in the 18th century and on its relation to the construction of masculinity. The case of Winckelmann illustrates the constructed and changing nature of eroticism: the influence of the Hellenic example is visible in the homoerotic fantasy that Winckelmann used to interpret his desires. Antiquity, given its cultural authority, represented a relatively safe space where Winckelmann was able to express his homoerotic sensibility to which the western context was hostile. Greek literature exalted the display of affection between men and its statuary, the nude male body. This fantasy would later prove to be the capital in Winckelmann’s comprehension and justifications of his relations with other men in Italy after 1755. Far from being confined to the repression of homoeroticism by the 18th century European society, the case of Winckelmann illustrates its potential for partial integration. The originality of Winckelmann lies in the way he used to communicate his homoerotic ideas in scholarly texts while rendering them socially acceptable. Finally, several clues in his works and letters bear to think that Winckelmann was aware of his difference and that between 1755 and 1768 he created for himself a discrete community of men also sensitive to homoerotic desires.
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Campbell, Andrew Raymond. "Bound together : being-with gay and lesbian leather communities and visual cultures, 1966-1984." Thesis, 2012. http://hdl.handle.net/2152/29699.
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Bound Together elucidates how gay and lesbian leather communities, in the years between 1966 and 1984, contested and expanded fungible notions of sex, community, and history, mostly through material and visual cultural systems: dress codes such as the hanky code, architectural spaces (bars, bathhouses, private clubs), garments, posters, advertisements, newsletters, films, and performances. In examining visual and material cultures, procedures of archival research, as well as the physical states of key archives associated with historic gay and lesbian leather communities, this dissertation opens out a discussion of a set of visual documents and terms rarely considered within the discipline of art history, or academia at large. Through rigorous rhetorical experimentation Bound Together seeks to propose new ways of writing histories. Long and short chapters are interpolated, telescoping between historical leather communities and key works of contemporary art which reformat 1970s documents and visual sources. Jean Luc-Nancy’s conception of “being-with,” a state of coterminous existence that lies at the foundation of being and subjecthood, provides an ideal framework for coming to terms with the challenges of writing leather histories. Nancy’s notion is one that privileges mutual and relational difference. The structure of Bound Together works similarly, building a set of differential modes of viewing, analyzing and writing. In this way I wish to, in the words of Tilottama Rajan, use “history as the condition for an internal distanciation and for self-reflection on what we do,” and to furthermore present alternatives to a discipline’s often “routinized, even commodified […] repeatable techniques.”<br>text
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Sjovoll, Therese. "Queen Christina of Sweden´s Musaeum: Collecting and Display in the Palazzo Riario." Thesis, 2015. https://doi.org/10.7916/D8NG4PFC.
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Queen Christina of Sweden (1626-1689)--one of the most celebrated, if controversial, converts of all times--settled in the papal city after her abdication in 1654. Her palace--the Palazzo Riario (today Corsini)--became one of Rome's leading cultural institutions: a site where learned, artistic, and elite culture converged. This study examines Christina's practice of collecting, and argues that her ambition was to create a center for learning and the arts in the Palazzo Riario modeled on the ancient Musaeum of Alexandria. While Christina's importance as a patron of art and learning has long been recognized, this dissertation offers the first comprehensive discussion of Christina's practice of collecting, and the architecture and ambience of her Roman palace. Based on both published and unpublished architectural drawings, inventories, household accounts, and contemporary travel descriptions, this dissertation establishes the contents and the display of Christina's collection, and the architectural plan of the Palazzo Riario. This study examines the intersection between objects and their display, issues of etiquette and decorum, and the social use of architecture in seventeenth-century Rome. It aims to contribute to the history of collecting and early museums, and to the broader field of seventeenth-century culture.
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"A Woman’s Agency Reflected in Objects: A Donor Profile of Queen Sancha of Castile y León." Master's thesis, 2017. http://hdl.handle.net/2286/R.I.44276.
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abstract: The Iberian Queen Sancha (r.1037-1065), of the kingdom of León and Castile has received minimal attention from scholars. As the last Leonese heir, Sancha had the sole responsibility of ensuring that imperial traditions of patronage never waned. Her acts of giving and the commissioning of objects have been attributed by (male) scholars as an obligation to legitimize her husband, Fernando I of Castile. Persuasive evidence found in documents suggests that her involvement in donation transactions was predicated on more than formality. My thesis argues that Sancha used the act of giving, the act of commissioning objects, language in documents, and the powerful institution of the infantazgo, to assert an agency identical to her male predecessors to gain political influence. Creating a “donor profile” of Sancha that examines the total of her donating practices enables the exploration of her conscious and unconscious motives for donation. My investigation into these acts supports a new theory that the building construction projects of Sancha and Fernando I began at the beginning of their reign rather than after 1053 as is currently believed. As the first woman to use the titles regine emperatriz and regina totius Hispaniae, Queen Sancha did more than just legitimize her husband, she built a legacy that established a new female center of power in León that endured until the thirteenth century.<br>Dissertation/Thesis<br>Masters Thesis Art History 2017
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Berto, Tony. "Are We There Yet? Gay Representation in Contemporary Canadian Drama." Thesis, 2013. http://hdl.handle.net/10214/7372.
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This study acknowledges that historical antipathies towards gay men have marginalised their theatrical representation in the past. However, over the last century a change has occurred in the social location of gay men in Canada (from being marginalised to being included). Given these changes, questions arise as to whether staged representations of gay men are still marginalised today. Given antipathies towards homosexuality and homophobia may contribute to the how theatres determine the riskiness of productions, my investigation sought a correlation between financial risk in theatrical production and the marginalisation of gay representations on stage. Furthermore, given that gay sex itself, and its representation on stage, have been theorised as loci of antipathies to gayness, I investigate the relationship between the visibility and overtness of gay sex in a given play and the production of that play’s proximity to the mainstream.
The study located four plays from across the spectrum of production conditions (from high to low financial risk) in BC. Analysis of these four plays shows general trends, not only in the plays’ constructions but also in the material conditions of their productions that indicate that gay representations become more overt, visible and sexually explicit when less financial risk was at stake. Various factors are identified – including the development of the script, the producing theatre, venue, and promotion of the production – that shape gay representation. The analysis reveals that historical theatrical practices, that have had the effect of marginalizing the representations of gays in the past, are still in place. These practices appear more prevalent the higher the financial risk of the production.<br>The author would like to sincerely thank Ann Wilson, Ric Knowles, Matthew Hayday, Alan Shepard, Sky Gilbert, Daniel MacIvor, Michael Lewis MacLennan, Conrad Alexandrowicz, Chris Grignard, Edward Roy, Brad Fraser, Cole J. Alvis, Jonathan Seinan, David Oiye, Clinton Walker, Sean Cummings, Darrin Hagin, and Chris Galatchian.<br>SSHRC, The Heather McCallum Scholarship, Lambda Prize for achievement in lesbian, gay, bisexual and trans-gendered studies.