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Dissertations / Theses on the topic 'Reading in art'

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Published: 4 June 2021
Last updated: 31 July 2024

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1

Walden, Jennifer Christine. "Reading art otherwise." Thesis, City University London, 2007. http://openaccess.city.ac.uk/8520/.

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This thesis considers certain critical moments in the writing about art in modernity. I firstly identify key exemplars as responses to a "crisis of representation" within a broadly conceived discipline of art history in Britain. These mark significant turns in the discipline, one towards a newly invigorated Marxist social history of art in the 1980's and one towards an increasingly philosophical mode of investigating aesthetic works. Whilst the latter can be said to have most impact after the 1980's, key aspects of the actual object of study pre-date this. The exemplars in the first two parts of the thesis are the writing of the British art historian T.J. Clark, principally in respect of his critical work, writing on Manet's painting of Olympia in the article first published in the British journal Screen in 1980 and the writings on the film Hiroshima Mon Amour, a film which dates from 1959 and not only documented by its script writer, Marguerite Duras at the time, but subject to critical readings within film theory and testimony studies in the 1990s, drawing upon particularly modern French philosophical thought. I examine how these exemplars present the relationship between aesthetics and politics but also the extent to which the paradigms by which they think that relation can be shown to come up against their own limits. I consider the challenges these exemplars presented to other modes of disciplinary thinking; Clark's Marxist criticism was part of a major politicisation of the discipline of art history and the film Hiroshima Mon Amour in itself and supported by Duras's script presented a major challenge to documentary and "memorial" cinema. But I argue that they return us to thinking the political or the historical in foundational or other essentialist ways under which the aesthetic is subsumed. It is by way of the philosophy of Jacques Derrida and Jean-Luc Nancy and critical thinkers influenced by them that I have problematised these exemplars. Derrida and Nancy have provided an approach which whilst respecting the criticality of the tradition, shows where that criticality meets its limits and forecloses on its questioning and openness to the potential 'other' in the aesthetic and the political, out of which there emerges a responsibility to continue to think the relation between aesthetics and politics. In addition, to deepen the context through which I invoke Derrida and Nancy and to offer historical insights to inform current critical concerns within the disciplines of art history, the thesis examines the philosophical writings of Martin Heidegger and Walter Benjamin in relation to art and politics and technology written in the 1930s. Heidegger's influence especially is fundamental to Derrida's and Nancy's thought but it is from the contrasting outcomes of Heidegger's and Benjamin's thoughts on art and technology that lessons may be drawn in respect of critical issues for contemporary politics and culture. The final chapter refers to some of these critical issues as part of a re-iteration of the contemporary importance of reading art 'otherwise' in the wake of a perceived waning of relevance of 'critical theory'.
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2

Graziano, Anne M. (Anne Marie). "Towards a new art of reading." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/121696.

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This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, 2019
Cataloged from student-submitted PDF version of thesis.
Reading has a long history, marked with shifts in inscription and language and with evolutions in the architectural typology of the library and reading room. How - and what - we read changes over time. Towards a New Art of Reading imagines a future state of readership, affective reading - capturing and illustrating instances of affective reading through the creation of five reading rooms. These speculations do not aim to predict a singular future of reading, but rather position a possible one - alluding to and depicting a reality based on reciprocities identified in past and present forms of reading. These series of instances, or reading rooms, outline a possible, expanding universe of affective reading.
by Anne M. Graziano.
M. Arch.
M.Arch. Massachusetts Institute of Technology, Department of Architecture
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3

Gallagher, Sarah Louise. "'To envy this man's art' : reading Browning reading Shakespeare 1835-1864." Thesis, University of Bristol, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424065.

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4

Heywood, Ian. "Discourses, art and the city : reading for a theory of art." Thesis, University of York, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277135.

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5

Johnston, Jerre Lynn. "ART CRITICISM: A "READING" OF THE VISUAL ARTS." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291319.

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6

Heinemann, Karen Kruse. "Processing Trauma: Reading Art in 9/11 Novels." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1473.

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While the negative effects of the terrorist attack of September 11, 2001 are still permeating throughout the United States, a few novelists have taken on the extreme task of writing about this historic event. Richard Gray describes the failure of language after the attack took place, yet novelists wanted to write about this tragedy anyway. Reading trauma in 9/11 is inevitable as it is important. In looking at three novels that deal with the events during and the aftermath of 9/11, I hope to consider the way art is used in these texts. In doing so, my thesis will look at the possibility of art being able to heal the wounds of this traumatic event. My second chapter will focus on the novel Extremely Loud and Incredibly Close by Jonathan Safran Foer. This novel depicts the effect 9/11 had on the child protagonist, Oskar, and follows him as he works through the trauma of losing his father in the South Tower. The third chapter of my thesis will discuss Don DeLillo's Falling Man, which offers a depiction of the powerful effect trauma has on the main characters in the novel, particularly Lianne. The performance artist is discussed at length. My fourth chapter will discuss the novel The Submission by Amy Waldman. Just as Maya Lin's submission for her Vietnam memorial sparked controversy, Waldman takes the same approach by casting an American Muslim as the artist and memorial architect for 9/11. While the previous novels focus on the personal effects of trauma on the characters, my chapter on The Submission will elucidate how trauma is negotiated on a national scale. I hope to answer such questions as: What do we expect in a memorial? What should we expect? What are the various demands survivors place on memorials?
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7

Cunningham, Victoria, Marcia Dosser, and Edward J. Dwyer. "Enhancing Reading Achievement Through Readers’ Theater and Art." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/3332.

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8

Dwyer, Edward J., and R. Isbell. "The Lively Art of Reading Aloud to Students." Digital Commons @ East Tennessee State University, 1989. https://dc.etsu.edu/etsu-works/3372.

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Dwyer, Edward J. "The Lively Art of Reading Aloud to Children." Digital Commons @ East Tennessee State University, 1994. https://dc.etsu.edu/etsu-works/3412.

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10

Takakjian, Cara Elizabeth. "The Italian Graphic Novel: Reading Ourselves, Reading History." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11002.

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This study seeks to unravel the intricate connection between a selection of graphic novels, the moments in which they were created, and the process of weaving an Italian cultural history. It analyzes graphic novels and comics from three periods in Italian contemporary history – 1968, 1977 and 2001 – and asks how the hybrid image-text language of graphic novels might provide a unique insight into the relationship between the individual and history in contemporary Italy. More specifically, it looks at how the comic medium not only reflects or represents historical events, but effectively re-writes and re-traces them, allowing us to re-think History. Ultimately, this work reveals how the graphic novel medium has been used as an instrument in the process of weaving an Italian cultural history since 1968. Comics not only reflect the time in which they are created, either explicitly or implicitly, but also work as cultural agents in the formation and re-telling of history. Whether they attempt to speak to and for a generation seeking change and a new reality of freedom, are a means of aggressive socio- political criticism in a moment of apathy and disillusion, or a space to reflect on and work through personal and historical trauma, graphic novels are shaped by, and help to shape, our vision of ourselves and our society.
Romance Languages and Literatures
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11

Riley, Nerea. "For a new art of reading : dramatizations of writing and reading in Julio Cortazar's narrative." Thesis, King's College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300315.

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12

King-Smith, Leah. "Reading the reading : an exegesis on "traces... vestiges... energies... a relic... landmark... stage: New Farm Powerhouse Project"." Thesis, Queensland University of Technology, 2001.

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As an artist Leah King-Smith has worked for several years in the creative medium of photography exploring notions of multidimensional states of consciousness particularly in reference to the psychic work of Jane Roberts. In this thesis King-Smith presents her creative developments as a technological shift from analogue to digital imaging, and continues, in her Research Project, to follow the same threads of investigation into the use of multi-layering as symbol and expression of simultaneous time. The thesis is two-fold in approach where in the first section, processes, contexts and concepts are presented and in the second section the themes and analysis of the final works are expressed through a creative writing style. The dichotomous method of interpretation in these two sections embodies the antithetical relationship artists experience between reflexive analysis and creative practice as methods of knowledge.
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13

Sarrimanolis, Birgit Lennertz. "Rules for reading : a cross-cultural understanding of art interpretation /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487947501134145.

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14

Graves, Lauren Catherine. "NAVIGATING THE BUILT ENVIRONMENT: READING BERENICE ABBOTT’S CHANGING NEW YORK." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/397656.

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Art History
M.A.
My thesis seeks to broaden the framework of conversation surrounding Berenice Abbott’s Changing New York. Much scholarship regarding Changing New York has focused on the individual photographs, examined and analyzed as independent of the meticulously arranged whole. My thesis considers the complete photo book, and how the curated pages work together to create a sort of guide of the city. Also, it has been continually noted that Abbott was a member of many artistic circles in New York City in the early 1930s, but little has been written analyzing how these relationships affected her artistic eye. Building on the scholarship of art historian Terri Weissman, my thesis contextualizes Abbott’s working environment to demonstrate how Abbott’s particular adherence to documentary photography allowed her to transcribe the urban metamorphosis. Turning to the scholarship of Peter Barr, I expand on his ideas regarding Abbott’s artistic relationship to the architectural and urban planning theories of Lewis Mumford and Henry-Russell Hitchcock. Abbott appropriated both Mumford and Hitchcock’s theories on the linear trajectory of architecture, selecting and composing her imagery to fashion for the viewer a decipherable sense of the built city. Within my thesis I sought to link contemporary ideas of the after-image proposed by Juan Ramon Resina to Abbott’s chronicling project. By using this framework I hope to show how Abbott’s photographs are still relevant to understanding the ever-changing New York City.
Temple University--Theses
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15

Sheah, Julie. "Reading Dreams| Representation of Dreams Through Artists' Books." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591082.

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Within pages and spreads, a reader can sometimes experience someone’s stream of consciousness. The book’s narrative, images, prose, and other components can break free from the parameters of a conventional book, unbound by the rules of formatting styles, grammar, and narrative. An artists’ book is free to be confusing, delightful, and horrifying. When creating an artists’ book to represent a dream, the difficulty of solidly recounting images and events that existed only in my mind creates a barrier between the reader and me. This barrier makes me feel inarticulate and ineffectual in that one of my main objectives as an artist is to coherently express an idea. While no medium possesses the capacity to fully transmit a dream, the artists’ book is one of the most comprehensive, artistic representations of a dream, and the parallels between experiencing a dream and experiencing a book allow for the terms “artist” and “dreamer” to shift interchangeably.

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Zdanovec, Aubree. "Seduction| A feminist reading of Berthe Morisot's paintings." Thesis, The University of Arizona, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10129125.

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Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her ac-complishments in a generalized history of the French Impressionist movement. I ana-lyzed nine of Morisot’s paintings and applied feminist theory, including third-wave feminism (post-1960’s). My research was angled to approach and understand Morisot’s artwork as a contemporary woman would at an exhibition.

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Zdanovec, Aubree, and Aubree Zdanovec. "Seduction: A Feminist Reading of Berthe Morisot's Paintings." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/620716.

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Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her accomplishments in a generalized history of the French Impressionist movement. I analyzed nine of Morisot's paintings and applied feminist theory, including third-wave feminism (post-1960's). My research was angled to approach and understand Morisot's artwork as a contemporary woman would at an exhibition.
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18

Heisler, Eva. "Reading as sculpture: Roni Horn and Emily Dickinson." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1109756723.

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19

Mangalanayagam, N. "Living with contradictions : re-reading the representation of hybridity in visual art." Thesis, University of Westminster, 2015. https://westminsterresearch.westminster.ac.uk/item/97vw7/living-with-contradictions-re-reading-the-representation-of-hybridity-in-visual-art.

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My practice-based PhD investigates how photographic arts can subvert existing visual stereotypes of otherness by exploring how the concept of hybridity undermines black and white notions of identity. Alongside an autobiographical visual art practice, using my own mixed heritage (Sri Lanka and Denmark/Sweden) I investigate how artists with mixed heritages use their shifting points of identification to explore the dichotomy of black and white notions of identity. Although there are many artists exploring Fanon’s idea of seeing oneself as Other through the eyes of an oppressor, it is harder to find artists using their hybrid position to question their own inherited preconceptions of others. By exposing this in my own practice, I add to a re-reading of the representation of hybridity in photography and video arts. My research includes aspects of postcolonial theory, psychoanalysis and art theory to inform, contextualise and question my own art practice. I place myself in situations within my cultural and familial structure to reflect on my position. Through shifting contexts I expose how I am, as much as anyone else, simultaneously a target and mediator. My artworks reveal inaccurate characterisations of me, the impact of other’s views on me, and my process revising my assumptions about others. My research and practice respond to three areas within postcolonial hybridity: the stereotype, mimicry and the Third Space. Each traces back to Homi Bhabha but is also reflected in current critical debates on identity. Through this work I explore contradictions that arise for people of mixed heritage, opening a space for viewers to reflect on their own narratives and position. Each of us contain different narratives, and sometimes it is through other people’s stories that we can deconstruct our own.
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Pearlman, Nina. "Access and aesthetics : a new reading of 'public' in relation to art." Thesis, Birkbeck (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441294.

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21

Haugen, Linda Lee. "Middle school content literacy and art: A semiotic study of beliefs, practices and environments." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/283994.

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This microethnography focuses on a single arts magnet middle school in a large urban southwest city to describe administrators, teachers, and students understandings of the relationship between art and literacy, how they use art and literacy in content instructional experiences, and how the environment they create supports literacy in two sign systems. The school provided a rich visual environment, an informed group of participants with a stated commitment to the arts and the academics, and a setting where art was supported and valued. Data collection utilized informal interviews with three administrators, twenty-six content area teachers and fourteen sixth, seventh and eight grade students, observations of classroom and the environment at large, and the collection of artifacts which included photographs taken by the students to record their perspectives of how art and literacy were used in their daily lives at school. Relying on a method of constant comparative analysis and data collection carried on concurrently during the study, a triangulated picture of content literacy and the visual arts emerged to reflect the three perspectives of the participants. This study dispels the notion that art is marginal in content literacy activities while advancing the notion that art is a meaning-making activity and essential to development of an aesthetic, literate person. Moreover, this study serves to persuade teachers, reluctant to bring art into their instructional experiences because they do not feel competent as artists, that talent is not a prerequisite nor a relevant concept for those who embrace a semiotic perspective and transmediation as the focus of instruction.
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JAFARYAN, Faezeh. "Italian Neorealism and Iranian Cinema: A Deleuzian Reading." Doctoral thesis, Università degli studi di Ferrara, 2016. http://hdl.handle.net/11392/2403414.

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L’influenza del neorealismo italiano sui film realizzati dopo la sua stagione e sui movimenti cinematografici sorti sia in Italia sia all’estero è stata oggetto di analisi per molti studiosi. Anche il cinema iraniano, in particolare l’opera di Abbas Kiarostami, è stata indagata alla luce dell’esperienza neorealista. Tuttavia, la quasi totalità di queste ricerche e di questi studi si è concentrata principalmente sul contenuto sociale e su alcune caratteristiche stilistiche ed estetiche proprie del neorealismo. Ci riferiamo a caratteristiche come “l’uso di ambienti reali, di attori non professionisti, di campi lunghi, di trame poco complesse… ” che sono state ripetutamente indicate da studiosi e storici del cinema come identificative del neorealismo. Ci sono, però, alcuni intellettuali che hanno cercato di andare oltre le definizioni convenzionali date a questo movimento e di prestare attenzione alle sue implicazioni filosofiche. In tal senso, Gilles Deleuze, che ha dedicato un intero capitolo del suo L’immagine-movimento. Cinema 1 (1984) al neorealismo e che ha citato, all’interno di entrambi i suoi due volumi di argomento cinematografico, molti film italiani per esemplificare le sue teorizzazioni, è uno dei filosofi più importanti. Secondo Deleuze il neorealismo italiano rappresenta un punto di svolta nella storia del cinema, un momento in cui viene alla luce un nuovo tipo d’immagine, un’immagine ottica che offre una diretta rappresentazione del tempo. In questa dissertazione abbiamo cercato di stabilire un confronto tra la new wave iraniana e il neorealismo sulla base dei concetti e delle definizioni che Gilles Deleuze attribuisce a quest’ultimo e abbiamo cercato di esplorare i diversi tipi di immagine-tempo e di immagine-pensiero in alcuni film italiani e iraniani.
The influences of Italian neorealism on subsequent films and cinematic movements either in Italy or abroad have been studied by a great deal of scholars. Iranian cinema particularly Abbas Kiarostami’s films, also, have been investigated from the viewpoint of neorealism. The common ground of all these researches and studies, however, is the social content and some aesthetic and stylistic features of neorealism; the features such as ‘real locations, non-professional actors, long shots, simple plots, etc.’ which have been repeated by critics and historians of cinema as the defining features of neorealism. There are some thinkers, though, who tried to go beyond conventional definitions of this movement and pay heed to its philosophical dimensions. Gilles Deleuze is one of the most important philosophers, in this sense, who dedicated a chapter of his Cinema 1 (1986) to Italian neorealism and cited many Italian films as examples of his theories throughout his two-volume cinematic books. According to him, Italian neorealism is a turning point in history of cinema, where a new cinematic image came to exist for the first time, a pure optical image which gives a direct presentation of time. In this study, we tried to make a comparison between neorealism and Iranian new-wave in terms of concepts and definitions Deleuze ascribed to neorealism and we tried to explore different kinds of time-image and thoughtimage in some Italian and Iranian films.
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Raines, Scott Hawkley. "The Second Coming of Don Quixote: Painting and the Quixote as Eucharistic Art." BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/8268.

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This thesis examines a new reading of Cervantes’s immortal Don Quixote: reading the Quixote as eucharistic art. Just as the Catholic Eucharist, when consumed by the believer, is transubstantiated into the literal flesh and blood of Jesus Christ, so too is this proposed reading of the Quixote. Using Michel Foucault’s work in The Order of Things, the author employs Foucault’s statement—that Don Quixote is “the book in flesh and blood” (48)—to explore a eucharistic reading of the novel as the reader’s internalization of Don Quixote’s being. The end of the novel is read not as Don Quixote’s return to sanity, but rather a sacrifice of the self, sealing the text to his being. The “disciple reader” then, through eucharistic reading, metaphysically internalizes the text that is Don Quixote transubstantiated, acquiring his madness in the process: a new Don Quixote. The author lays out a theory for eucharistic reading, noting the Quixote’s singular place in world literature as a prime novel fit for this type of mystical reading. The thesis then examines and analyzes the theory and its effects on intratextual metafictional readers of the novel. As a kind of measuring tool, the author looks at painted representations of Don Quixote within the novel as eucharistic self-portraits of the metafictional disciple reader’s “quixotic” self. The thesis closes with a proposal for future studies regarding artistic representations outside of the text as products of eucharistic reading worthy and in need of future analysis.
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Altmann, Ulrike [Verfasser]. "Beyond beauty - affective and aesthetic processes in reading and art perception / Ulrike Altmann." Berlin : Freie Universität Berlin, 2018. http://d-nb.info/1155420829/34.

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Brandon, Katie Emily. "A writerly reading of art : theories of authorship and artists' books, 1960-1980." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505486.

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Stieda, Kalie. "The world is real : writing, counting, and reading in the art of Hanne Darboven." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/62757.

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This thesis seeks to approach the work of German artist Hanne Darboven (1941-2009) through the operations of writing, counting, and reading. In the language of New German Media Theory, these operations are known as elementary cultural techniques. I will trace the thematization of these techniques by analyzing Hanne Darboven’s art through what are known as her text formulations (schreibe, beschreibe nicht, schreibe rechnen/rechne schreiben, and gedankenstrich). These formulations are all inherently tautological, an aspect which links them to the recursivity of cultural techniques. These techniques are “articulations of the real,” ontic operations that exist a priori of the ontological concepts they generate, producing a difference between established pillars of meaning. Though many critics of Darboven see her art as the evocation of transcendental concepts like history and time, my research will show that Darboven is ultimately concerned with how these operations ground her process in the fabric of the world. Darboven’s art is not a rational realization of the values of the Enlightenment, nor is it a mathematical proof with infinite variations. It is rather a recursive system that is infinite only in its repetition of its own process, which is also a personal method of coping with daily life invented by the artist.
Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
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Doyle, Kathleen. "Re-reading St Bernard : text, context, and the art-historical interpretation of the Apologia." Thesis, Courtauld Institute of Art (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414776.

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Etolia-Ekaterini, Martinis. "The Sphinx in Symbolist art : the metamorphosis of the myth and its intertextual reading." Thesis, University of Essex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442516.

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Berry, Drago Elisabeth Michelle. "The Art and Science of Reading Faces: Physiognomic Theory and Hans Holbein the Younger." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/86414.

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Art History
M.A.
This project explores the work of Hans Holbein the Younger, sixteenth-century printmaker and portraitist, through the lens of early modern physiognomic thought. This period's renewed interest in the discipline of physiognomy, the art and science of "reading" human features, reflects a desire to understand the relationship between outer appearances and inner substances of things. Physiognomic theory has a host of applications and meanings for the visual artist, who produces a surface representation or likeness, yet scholarship on this subject has been limited. Examining Holbein's social context and artistic practice, this project constructs the possibility of a physiognomic reading of several major works. Holbein's engagement with physiognomic theories of appearance and representation provides a vital point of access to early modern discourse on character, identity and self.
Temple University--Theses
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Dascal, Elana. "Reading Midrash as graphic artistic activity : the compilation of Midrash Rabbah as possible influences on early Jewish and Christian art." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28257.

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Midrash is a genre of rabbinic Bible exegesis, composed by various authors and compiled in anthologies during the first seven centuries of the Common Era. This thesis explores the reading of Midrash and its possible influence on early artistic activity. Examples of early Jewish and Christian biblical representations that display some degree of midrashic impact, are presented in order to establish the existence of a relationship between Midrash and art. Finally, by a systematic reading of the corpus of midrashic literature found in Midrash Rabbah, Midrashim that suggest graphic representation, but which have not yet to been found among early art forms, are categorized and analyzed.
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Hurd, Danielle Jean. "Alice Brill's Sao Paulo Photographs: A Cross-Cultural Reading." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2635.

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In this thesis I consider the influence of Alice Brill's transnational background on her photographs of 1950s São Paulo. Brill was born in 1920 to a Jewish-German family. In 1934 she immigrated to São Paulo where she involved herself in local artistic circles. From 1946-47 she received a grant to study at the University of New Mexico and with the Art Students League in New York. Brill learned photography during her time in the United States, hoping to create documentary photo-essays in Brazil which she could send to American illustrated magazines. None of Brillss works were published in the United States, however, on returning to São Paulo in 1948 Brill was invited by Pietro Maria Bardi, Director of the Museu de Arte de São Paulo Assis Chateaubriand, to "record the daily life of the citizens of São Paulo". Bardi intended the photographs to be published as an homage to the city's 400th anniversary, but lacked sufficient funding to complete the volume. Brill's images of São Paulo depict the metropolis in a way unique during the period: as a space shared by multi-racial communities. While many photographers and publications metaphorically white-washed the city by depicting only its most Europeanized attributes, Brill consciously sought out underrepresented groups, specifically the burgeoning Afro-Brazilian community. Brill's point of view was shaped by her international upbringing and training: her experience as an outsider compelled her to document other outsider communities in São Paulo. She recognized the traditions of representation already in place in Brazil and manipulated familiar types in order to represent the nation's true hybridity. Influences on her work include: the long history of part-artistic, part-anthropological studies of the Brazilian people; local photographic traditions for picturing the city and its inhabitants; the European photojournalist style introduced to Brazil in 1944; and the international sensibility of Brill's patrons, the Bardis. I attempt to show how Brill balanced these considerations with her own personal understanding of Brazil as a multivalent space.
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Ramos, Matthew. "Sacrifices on the high altar of art : a Kleinian reading of Philip Roth's Zuckerman novels." Thesis, University of Essex, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.537941.

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Vette, Joachim F. "Narrative art and reader creativity a comparative reading of 1 Samuel 9:1-10:16 /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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Panagopulos, Kathleen. "Closing the Achievement Gap Through Arts Integration." Thesis, Notre Dame of Maryland University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3687902.

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As educators grapple with the issue of eliminating achievement gaps that exist among student groups, instructing for students' diverse learning needs while effectively meeting the demands of the curriculum can be a daunting task. Arts integration (AI) is a research-based strategy that has been demonstrated to lead to positive effects in student achievement with the greatest effect being among students who qualify for federal meals benefits (FARMS) (Deasy, 2002; Catterall, 1999; Rabkin & Redmond, 2006). This mixed-methods study evaluated state mandated reading assessment data for a cohort of grade three students for the years 2011, 2012, and 2013 within one school district in Maryland using a formula developed by the Maryland State Department of Education to determine student change scores. While analysis of covariance (ANCOVA) of AI and change scores for FARMS and non-FARMS students did not yield a positive relationship, further qualitative analysis of principal and teacher interviews and classroom observations at five public AI elementary schools revealed perceptions among educators of a positive relationship of AI to student achievement. Utilizing a grounded theory approach to examine emergent themes, a theory of effective models of arts integration was developed to include the elements of: shared vision, student engagement, rigorous instruction and teacher capacity. This study provided information regarding the optimal method of delivering arts integrated instruction that may lead to student achievement and reduce the achievement gap between FARMS and non-FARMS students.

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Robson, Amy. "Dogs and domesticity : reading the dog in Victorian British visual culture." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/10097.

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The central aim of this thesis is to critically examine the values associated with dogs in Victorian British art and visual culture. It studies the redefining and restructuring of the domestic dog as it was conceptualized in visual culture and the art market. It proposes that the dog was strongly associated with social values and moral debates which often occurred within a visual arena, including exhibitions, illustrated newspapers, and prints. Consequently, visual representations of the dog can be seen as an important means through which to study Victorian culture and society. Historians have agreed that the Victorian period was a significant turning point for how we perceive the dog. Harriet Ritvo, Michael Worboys and Neil Pemberton cite the Victorian period as founding or popularizing many recognisable canine constructs; such as competitive breeding; a widespread acceptance of dogs as pets; and the association of particular breeds with particular classes of people. Phillip Howell defines the Victorian period as the point at which the domestic dog was conceptually established. The figurative domestic dog did not simply exist in the home but was part of the home; an embodiment of its core (often middle class) values. As such, the domestic dog became the standard by which all other dogs were perceived and the focal point for related social debates. Yet most studies concerning the Victorian dog overlook the contribution of visual culture to these cultural developments. William Secord compiled an extensive catalogue of Victorian dog artwork and Diana Donald examined Landseer and the dog as an artistic model yet neither have fully situated the dog within a broader Victorian social environment, nor was their intention to critically examine the dog’s signification within the larger visual landscape. Chapter One provides this overview, while subsequent chapters provide studies of key canine motifs and the manner in which they operated in art and visual culture. Underpinning this thesis is a concern with the Victorian moral values and ideals of domesticity in urban environments. These values and their relation to the dog are explored through the framework of the social history of art. Seen through this methodology, this thesis allows the relationship between canine debates, social concerns, and visual representations to be understood. It will argue that the figure of the dog had a significant role to play both socially and visually within Victorian society and propose a reappraisal of the dog in art historical study.
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Wetherell, Ann Elizabeth. "Reading birds : Confucian imagery in the bird paintings of Shen Zhou, 1427-1509 /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1192182601&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2006.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 275-290). Also available for download via the World Wide Web; free to University of Oregon users.
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Gauche, Catherine. "Reading the distance : decoding the autobio(graphic) novel, Portrait in pieces." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1980.

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Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009.
The aim of this thesis is to decode my autobiographic graphic novel, Portrait in Pieces (a narrative of a mother / daughter relationship), utilising a genealogical mode of analysis. This takes place, firstly, through a discussion of the themes of photography, memory and repetition which occur in the graphic novel; secondly, through a consideration of the role of language and difference within a specific mother / daughter relationship; and thirdly, through the study of autobiography and the self as performative entities. In this thesis I interrogate the autobiographic genre in a manner that questions internalised notions of femininity and (patriarchal) cultural constructs, which precede and influence the performance of our ‘life scripts’. I posit Portrait in Pieces as a transitional object between my mother and myself, and language as a medium which can both Otherise and close the distance between us. Translation is the medium by which one reads this distance, turning miscommunication into communication, and misunderstanding into understanding. The illustrations and text constituting the graphic novel have been produced through creative play, representing the ‘post talking’ required for the process of healing, empathising, and taking ownership of one’s ‘life script’.
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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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Castronovo, Joseph Anthony Jr 1950. "Reading hidden messages through deciphered manual alphabets on classic artwork." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282678.

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Decipherment is the tool used to uncover several types of hand signs that played vital roles in the creation of hidden messages in classic artwork. A 3,100 B.C. bas-relief of The 'Kaph' Telescope, formerly named The Narmer Palette, and Michaelangelo Buonarrotte's Battle of Cascina of 1506 were two key works of art that show certain similarities even though separated by 4,500 years. It is evident that Renaissance humanists provided artists with certain knowledge of the ancients. Results of incorporating a number of minor works of art showed that the competence of ancient Egyptians, Cretans and Australian Aboriginals, to name a few, as astronomers, was underestimated. Some deciphered Indus seals attested to a global understanding of the universe, with Gemini and the star of Thuban at the center of their attention. Certain forms of secrecy had to be undertaken for various reasons throughout the millennia. Three examples are: (1) In Italy, to keep controversial and truthful teachings discreet and hidden, artists embedded them in artwork long before the plight of Galileo Galilei and his discoveries. (2) Among Jewish Kabbalists, a well-known design was obscured in The Arnolfini Wedding painting for fear it would be lost due to persecution. (3) Michaelangelo Buonarrotte indicated several meanings through the hands of The Statue of Moses. They were overlooked by several societies, including the gesticulating culture of Italy, because they oppressed the value of signed languages. Spatial decipherment may testify to a need for the restoration of a spatial writing system for expanded linguistic accessibility. A 21st century model community for sign language residents and employees will benefit visual learners, particularly visual artists and non-phonetic decipherers, to better uncover, understand and perhaps use ancient hand forms to restore ancient knowledge. Moreover, the National Association of Teaching English (NATE) has recently endorsed the addition of two skills, viewing and visual representing, to the traditional list of reading, writing, speaking and listening. Students will master these two new skills far more effectively when they are exposed to such a signing community.
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Marshall, Catherine M. "The relationship between rapid auditory processing and phonological skill in reading development and dyslexia." Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325644.

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Hollo, Kevin R. "(Re)Framings: A Multimodal Interrogation of Reading as Writing." Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1164916147.

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Todd, Antony. "Auteurism and the reception of David Lynch : reading the author in post-classical American art cinema." Thesis, University of Southampton, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416901.

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Jardine, Fiona. "The divided seal : reading a history of signatures in visual art through Derrida's Signature Event Context." Thesis, University of Wolverhampton, 2014. http://hdl.handle.net/2436/550202.

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This thesis looks at the function of signatures in visual art using the theory of Jacques Derrida and a series of paradigmatic historical examples. Specifically, it departs from ‘Signature Event Context’ (SEC) to establish signature outside the idiom of visual art as a social process. Having established signature as process designed to guarantee presence, it suggests that signature should be considered a method of production. As a method of production, signature has a significant contemporary relevance for dematerialised and Relational Art practices which are frequently held to be ‘unsigned’. This thesis suggests grounds for questioning the unsigned quality of Relational Art, and looks at what signatory production means for it. Until the 1990s, signature was mostly ignored as a subject for serious art historical scholarship. It is still rarely indexed as a subject even when it warrants a mention in the body of a text. Although a clutch of recent studies have addressed its occurrence in the work of individual artists, or within the boundaries of narrowly defined eras, there is little work - if any - which attempts to connect these pockets of knowledge with a conceptual grounding of what signature does in order to develop a connected narrative and broad understanding for its place. As a result, there is little interrogation of signature’s mechanism alongside historical examples, and scholarship is instead focused on its appearance. This thesis attempts a broad, conceptually informed, historical survey, using examples that date as far back as the sixth century BC. The aim is to unpack the signature-form ‘R. Mutt’ which appears on Marcel Duchamp’s Readymade, Fountain (1917), a work with great conceptual importance for contemporary dematerialised and Relational Art practices. In bringing SEC into close 3 proximity to Fountain, the thesis establishes potential grounds for reading a significant theoretical relationship between Derrida and Duchamp, a pairing which has been neglected by scholars despite conceptual sympathies between them.
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Barros, Francisca Argentina Gois. "The Art as Educative Principle: a new Biography Reading of Pedro AmÃrico de Figueiredo e Melo." Universidade Federal do CearÃ, 2006. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=514.

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Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico
Nos Ãltimos vinte anos, a produÃÃo historiogrÃfica voltada propriamente para a HistÃ-ria da EducaÃÃo Brasileira tem aumentado de forma significativa. As pesquisas mais recentes nesse campo de estudo demonstram que os educadores vÃm procedendo a revisÃes necessÃrias no trato das questÃes teÃricas e de mÃtodo. O que tambÃm se verifica com a ampliaÃÃo dos procedimentos cognitivos, da busca de novos objetos e de novos problemas, à que os historia-dores da educaÃÃo estÃo ampliando suas fontes documentais, abandonando as afirmaÃÃes exa-tas sobre o passado e o futuro e adotando cada vez mais a reflexÃo retrospectiva, a autocrÃtica, a reavaliaÃÃo das fontes, problematizando o processo de reconstruÃÃo das memÃrias para compreender o passado na sua complexidade, densidade e ambigÃidade. A elaboraÃÃo de uma nova biografia de Pedro AmÃrico de Figueiredo e Melo (1843-1905) segue este raciocÃnio e faz emergir, atravÃs da exegese dos textos literÃrios, filosÃficos e cientÃficos produzidos por ele entre 1864 e 1905, sua participaÃÃo no debate sobre a cons-truÃÃo de abordagens pedagÃgicas para o ensino da arte, da sua defesa pela disseminaÃÃo do conhecimento e do acesso da populaÃÃo brasileira à produÃÃo artÃstica nacional e internacio-nal por meio da escola pÃblica e gratuita. Por ser, ao mesmo tempo, tributÃria e credora do espÃrito da Ãpoca, a produÃÃo literÃria de Pedro AmÃrico expressa uma unidade conceitual, teÃrica, estÃtica e Ãtica que assume im-portÃncia singular no nosso cenÃrio intelectual e educacional. Desse modo, essa nova biogra-fia visa contribuir para a preservaÃÃo da memÃria da histÃria educacional brasileira na segun-da metade do sÃculo XIX.
In the last twenty years, the historiografic production directed properly toward the History of the Brazilian Education has increased of significant form. The research most recent in this field of study demonstrates that the educators come proceeding the necessary revisions in the treatment from the theoretical questions and method. What also it verifies with the magnifying of the cognitivos procedures, of the search of new objects and new problems, is that the historians of the education are extending its documentary sources, abandoning the accurate affirmations on the past and the future and adopting each time more the retrospect reflections, the autocritic, the reevaluation of the sources, problemize the process of reconstruction of the memories to understand the past in its complexity, density and ambiguity. The elaboration of a new biography of Pedro AmÃrico de Figueiredo e Melo (1843-1905) follows this reasoning and makes to emerge, through exegesis of the literary, philosophical texts and scientific produced by him between1864 and 1905, its participation in the debate enter on the construction of pedagogical boardings for the education of the art, of its defense for the dissemination of the knowledge and the access of the Brazilian population to the national and international artistic production by means of the public and gratuitous school. For being, at the same time, tributary and creditor of the spirit of the time, the literary production of Pedro AmÃrico express conceptual unit, theoretical, aesthetic and ethical that assumes singular importance in our intellectual and educational scene. In this manner, this new biography aims at to contribute for the preservation of the memory of the Brazilian educational history in the second half of XIX century.
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Svensson, Andreas. "Forsake Thy Art, Forsake Thyself : A Lacanian Reading of Oscar Wilde's The Picture of Dorian Gray." Thesis, Högskolan i Gävle, Engelska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-32531.

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This essay argues, with the help of Lacanian psychoanalysis, that Dorian Gray, the protagonist in Oscar Wilde’s novel, fails to abide by the rules governed by the culture of society. It is argued that Lacan’s theories about the mirror stage develop Dorian’s character and his realizations of his true self as part of the culture which shapes him. The mirror is represented by the four characters Basil Hallward, Lord Henry Wotton, Sibyl Vane, and Sibyl’s brother James. Basil, Henry, and Sibyl are all representations of different aspects of the mirror explained by Lacan’s theories, and these three characters help Dorian realize his true identity and self.
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Brown, Storm Jade. "Art, outrage, dialogue: a McLuhan reading of three visual communicative practices in Cape Town public space." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/22031.

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This mini-dissertation places a specific focus on the City of Cape Town and considers the space between aesthetics, commercial interest and social relevance in public visual communication practices. Instead of making a general statement or providing a value judgement, this research examines the nature of the debate surrounding public artistic practices by referring to three main artists; namely Michael Elion, The Tokolos Stencil Collective and Freddy Sam. The basis of the discussion is centred around the recent controversy surrounding Michael Elion's Sea Point public art sculpture, Perceiving Freedom (2014) and the respective questions it raised about what public space means, who has the right to represent themselves, and what that looks like. By drawing a comparison with Perceiving Freedom (2014) to the visual communicative practices of Freddy Sam and The Tokolos Stencil Collective, this research examines the progression of the debate. This encompasses the ways in which each artist and their work serve to illuminate the different visual modes of engagement in Cape Town's public spaces. Due to the contemporary nature of the subject matter, this debate is engaged with on three different levels. The first level examines the context of this debate and each artist, whereas the second level considers the points where their respective visual communicative practices intersect and engage in dialogue with each other as well as the general public. The last level considers an alternative way of reading the content, context and form of visual communicative practices so that their resulting effect can be better understood. This is done with the use of Marshall McLuhan's (1964) total effect media theory. Although several other prominent South African artists are mentioned in the scope of this research, it is important to note that the focus still pertains to the aforementioned themes of aesthetics, commercial interest and social relevance in public visual representative practices. Therefore Michael Elion, The Tokolos Stencil Collective and Freddy Sam remain the specific focus of discussion, as their respective works are used to illustrate these three themes. The first level of engagement offers a theoretical background to the reader by briefly familiarising them with international street art and graffiti practices. This brief yet concise background allows for a better understanding of the history and politics surrounding unsanctioned public visual practices and how they differ to formal sanctioned and funded ones.
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Downes, Sarah. "Reading Jean Rhys : empire, modernism and the politics of the visual." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206736.

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This thesis considers the relationship between literary modernism and visual culture in the work of Caribbean modernist Jean Rhys. Through analysis of a range of visual modes—theatre, fashion, visual art, cinema and exhibition culture—it examines the racialised sexual politics of Rhys’s modernist aesthetics, as represented in her texts of the 1920s—30s. I read Rhys’s four interwar novels—Quartet (1928), After Leaving Mr Mackenzie (1930), Voyage in the Dark (1934) and Good Morning, Midnight (1939)—in the context of contemporary visual practices and the politics of empire. Rhys’s descriptions of artistic practices, acts of viewing and interpreting art, and the identification of her protagonists as both objects and consumers of art are a crucial aspect of her anti-colonial feminism. The politics of vision and of empire are always intertwined for Rhys. Chapter One studies theatrical spectacle and everyday performances of the self. Chapter Two moves to the fashioning of female identities and sartorial constructions of Englishness. Chapter Three turns to Rhys’s use of ekphrasis to question representational structures as they exist in the modernist, primitivist art context. Chapter Four reads Rhys and cinema, focusing on divided or fractured subjectivities as relayed through allusions to distorted mirrors. This conveys Rhys’s powerful evocation of themes of alienation and dislocation. I conclude by analysing what ‘exhibition’ means for those occupying both subject and object visual positions within the imperial metropolis. Analysis is supported by readings of unpublished short stories, letters and poems, works that are relatively absent from current Rhys scholarship. The conjunction of revolutions in the visual arts and the destabilization of the empire in the modernist period provides clear space for investigation into the creation of new ways of seeing that provided a degree of visual agency for those deemed incapable of aesthetic production. Crucial to this is Rhys’s own Creolité. Situated within and outside of European visual subjectivity, Rhys’s work becomes vital to any study of social acts of seeing, in terms of individual subjectivity and within the wider systems of vision produced through the arts.
published_or_final_version
English
Doctoral
Doctor of Philosophy
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Stephens, Pamela Geiger. "The Effects of Discipline-Based Art Education upon Reading Test Scores of Suburban North Texas Second Grade Children." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc504187/.

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This study examines the effects that discipline-based art education has upon reading test scores of public school second grade children. The progress in language arts of an experimental group and a control group were followed for two six week grading cycles. The experimental group was treated with DBAE instruction for one six weeks, while the control group received only studio production exercises. Both groups received no art instruction for another six weeks. Gains between mean pre-test and post-test scores indicated a significant difference for the experimental group but not the control group.
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Opat, Annie M. "Alternative pathways : struggling readers utilize art elements for listening/viewing comprehension and artistic response." Diss., Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/705.

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Le, Veque Mollie S. "Dirty Pictures—Not for Sale: Re-reading Bellocq’s Storyville Portraits." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cgu_etd/94.

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In this paper, I examine E.J. Bellocq's "Storyville Portraits" within art historical and feminist historiographies. One of the most infamously alluring parts of New Orleans at the turn of the century, the Storyville red light district is hardly part of contemporary American consciousness today. Part of my work involves an evaluation of what a lack of archival resources does to perceptions of Storyville and more broadly, the stereotypical late Victorian “fallen women” that has been read into history - both by historians and popular culture. However, my focal point is indeed the portraits and how they might be re-read and fruitfully explored when considering a variety of pertinent factors that influenced representations of sex work in late 19th century New Orleans.
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