Dissertations / Theses: 'Southest art'

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Schieffer, Adam M. "Archaeological Site Distribution in the Apalachicola/Lower Chattahoochee River Valley of Northwest Florida, Southwest Georgia, and Southeast Alabama." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4576.

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This research examines and compares the distributions of archaeological sites and materials in order to investigate native settlement patterns and resources use throughout 12,000 years of prehistory and protohistoric time within the Apalachicola/Lower Chattahoochee River valley of northwest Florida, southwest Georgia, and southeast Alabama. Geographic Information Systems (GIS) are used to map the distributions of sites from different time periods and to explore their relation to various environmental characteristics that are now available in digital format. I employ tools now available in GIS to examine several longstanding research questions and expand upon archaeological interpretations within this region, where the University of South Florida (USF) has an ongoing research program. The results of this work illustrate change through time and space as cultures begin to adapt to post-Pleistocene ecological change, develop food production and complex societies, and react to the appearance of European groups.

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Solomon, Anne Catherine. "Rock art incorporated : an archaeological and interdisciplinary study of certain human figures in San art." Doctoral thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/21817.

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Bibliography: p. 206-228.
Understanding a widespread motif in San rock art - a human figure depicted in frontal perspective with distinctive bodily characteristics - is the aim of this study. A concentration of these figures in north eastern Zimbabwe was first described by researchers in the 1930s and subsequently, when one researcher, Elizabeth Goodall, described them as 'mythic women'. Markedly similar figures in the South African art have received little attention. On the basis of fieldwork in the KwaZulu-Natal Drakensberg, the south western Cape (South Africa) and Zimbabwe, and an extensive literature survey, a spectrum of these figures is described. In order to further understanding of the motif, existing interpretive methods and the traditions which inform them are examined, with a view to outlining a number of areas in need of attention. It is argued that analysis of rock art remains dependent on a range of dualistic notions which may be linked to retained structuralist ideas. It is suggested that the dominant model in rock art research, in which the rock art is seen as essentially shamanistic, perpetuates distinctions between mind and body, myth and ritual, and sacred and profane, while in its search for general truths concerning the rock art, and its central focus on iconography, the model retains traces of linguistic structuralism. It is proposed that the 'mythic woman' motif, with its gendered and sexual characteristics, is not well accounted for by reference to southern San ritual and religious practice alone. Drawing on contemporary theories concerning temporality and embodiment, it is argued that the motif is better understood in relation to recurrent themes of death and regeneration in San mythology and oral narratives, with shamanistic practice enacting related themes. The motif may be seen as representing San history in terms of culturally specific temporal schemes arising from San experience of the world. The 'ethnographic method', by means of which San accounts are used to illuminate features of the art, is reassessed and extended. Hermeneutic theories are drawn upon in order to address questions regarding the way in which ethnographies and art may be mutually illuminating, and to account for the inevitability of multiple interpretations arising from the situated process of reading or viewing. Prominent themes, images and devices in San myth and oral narrative are discussed in an attempt to move beyond a narrowly iconography-centred approach and in order to account for devices and stylistic features of San arts which are evident in both verbal and visual media. Implications of the research for investigating an archaeology of gender, and the writing of San history, are discussed.

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Romano, Cara L. "Gallery 66 selling the Southwest /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194999497.

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Akard, Carrie Meitzner. "Southern Genre Painting and Illustration from 1830 to 1890." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277611/.

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The purpose of this thesis is to give a concise view of stylistic, iconographical, and iconological trends in Southern genre paintings and illustrations between 1830 and 1890 by native Southern artists and artists who lived at least ten years in the South. Exploration of artworks was accomplished by compiling as many artworks as possible per decade, separating each decade by dominant trends in subject matter, and researching to determine political and/or social implications associated with and affecting each image. Historical documents and the findings of other scholars revealed that many artworks carried political overtones reflecting the dominant thought of the white ruling class during the period while the significance and interpretation of other artworks was achieved by studying dominant personal beliefs and social practices.

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Dawkins, Jane Marie. "Ogden Museum of Southern Art: An Internship Report." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/149.

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The following internship report is a documentation of my work with the Ogden Museum of Southern Art from January through April 2013. I worked closely with the Museum departments of Education and Development, as well as the Deputy Director. This report is an analysis of the different business and management methods of the organization and their fidelity to best museum practices. I will analyze the strengths, weaknesses, opportunities and threats of the museum. I will also touch on the recent history of the Museum; what I observed currently; and the direction I see the museum heading in its future.

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Garrett, Elizabeth Ann. "The Ancient Art of Smile-Making." TopSCHOLAR®, 2014. http://digitalcommons.wku.edu/theses/1366.

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If I am anything, I am a Kentuckian, which means I appreciate a good storyteller. In my writing, I hope to bring back some dignity to the “lost cause” of the good values from a broken culture. While I am not quite “southern” enough to qualify as a writer of Southern Gothic fiction, I can relate to this brand of identity crisis in which someone wants to maintain an archaic mindset in a culture charging towards “progress.” As technology and corporate success take precedence over a genteel and pastoral soul, our collective competitiveness has crippled a quaint future of back porch comforts. Being well-read or holding open doors won’t pay for student loans, and there is no such thing as stars in our crowns anymore. For many regions of Kentucky, there is this conflict within the graying of small town communities. My region is one of these. As time marches on, the agrarian lifestyle itself becomes industrialized, and these old family farms, upon which small towns are built, are not self-sustaining. In my stories, I capture the perspectives of a rural community’s personalities. My Regionalism may be dated, but then so are the small town values. With these short stories, I hope to create a collection of characters whose backgrounds may be singular but whose messages are universal. My stories are about the universal fear of loneliness. Perry and White, the cameo characters, pop up throughout because they epitomize this with their irrational companionship. “The Ancient Art of Smile-Making,” “A Well Meaning Marionette,” “The Peacock Cloister,” and “In the Garden, Swallowing Pearls” are essentially about this innate need for company. “Murdered in a Good Dress” and “Myrtle Slog” illustrate the homesickness experienced by those who divorce themselves from closeness of the rural community. Sometimes we call “friendship” kitschy and cliché. And why is that? I made Perry and White’s bond a bit absurd because it is almost ridiculous that there could be a person in the wild world who would sacrifice themselves.

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Dalton, Karen Jeanne. "Kitsch and Southwest hybridity in the art of Ted De Grazia." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001924.

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Beale, Sara A. "The Ogden Museum of Southern Art: An Internship Report." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/188.

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This internship report documents and outlines my time with the Ogden Museum of Art in New Orleans, Louisiana, from January to May of 2015. It closely outlines the history and structure of the organization, as well as its strengths, weakness, opportunities and threats. This report also includes a detailed description of all tasks and responsibilities assigned to me as an intern, an analysis of its current state, research of best practices in the field, and an educated analysis of its probable trajectory.

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Turner, Sarah Elizabeth. "Constructing landscapes : art in Neolithic and modern southern Brittany." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1446864/.

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The aim of this thesis is to study the concept 'Neolithic art' in one area of southern Brittany, between the Etel and Auray rivers, with some attention to the best known sites in the Gulf of Morbihan. The thesis is divided into three main sections each of which 'translates' 'Neolithic art' from a particular perspective, or, in terms of the title of the thesis 'constructs landscapes' through 'art'. The thesis is therefore a study of 'art' and how it is part of, and is understood in, the surrounding world. Each section of the thesis is considered as a 'frame', which discusses 'Neolithic art' from a different perspective. Each frame develops one idea of a landscape, which is explored through, and which creates 'art'. The first 'frame' is considered in Chapter 2 of the thesis, and is an enquiry into how the genre 'Neolithic art' was created and developed in Brittany as an archaeological study. The second 'frame', Chapters 3 to 5, is a subjective account of how 'Neolithic art' might have been constructed or used in the Neolithic period itself. The third frame, considered in Chapter 6, is an examination of how tourists might understand and create 'Neolithic art' in Brittany. As each frame is developed it is shown that one must go beyond the motifs to understand the concept 'art'. It is through 'art' features such as the colour, texture and shape of monuments, in essence the monuments themselves, and through different sensory experiences of the monuments and the surrounding world, which are beyond the carved motifs, that we see, within the context of the thesis, how complex and wide reaching the sense of 'art' really is and how it must be considered as part of our experience of the environment in which we live. Together the three frames offer three different but inter-dependent experiences of Neolithic 'art' in the landscape, and result in the creation of three recognisably different constructions of 'art' in the lived-through-world. Taken together, the three frames show how 'art' can be constructed, but also how it constructs meaning, in the lived-through-world - constructing landscapes through 'art' - in different, contrasting and changing ways. By considering the same objects within different frames of experience the intention is to show, from the micro-scale (motif) to the macro-sale (monuments and landscape), how 'Neolithic art' can be created, how it can mean, and how it is constantly changing, multivalent and broad reaching.

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Clark, Gayle Shaw. "Sexuality social and cultural constructs of women represented through art /." Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/spring2008/gayle_r_shaw/Clark_Gayle_S_200801_MFA.pdf.

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Thesis (M.F.A.)--Georgia Southern University, 2008.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts." Under the direction of Elizabeth Jane Pleak. ETD. Electronic version approved: May 2008. Includes bibliographical references (p. 65-75)

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Clarke, Wesley S. "Return to P'ong Tuk: Preliminary Reconnaissance of a Seminal Dvaravati Site in West-central Thailand." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1321396671.

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Rennie, Grace. "An Internship Report on the Ogden Museum of Southern Art." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/185.

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The following internship report is a reflection of my time spent working at the Ogden Museum of Southern Art from February 2 to June 2, 2015. Since gaining a new Executive Director in 2012, the Museum has gone through a period of rapid change, which resulted in a complete overhaul of staff structure during my tenure. This report will outline the structure of the Museum, discuss the factors that led to it changing, and evaluate its sustainability for the Museum moving forward. It will also discuss the marketing and communications mechanisms in place, with a specific focus on social media, and provide recommendations for improvements in these areas.

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Buchanan, Mariah Spann. "Educating black youth moral principles through black art." Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/spring2008/mariah_s_buchanan/buchanan_mariah_s_200801_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2008.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Under the direction of Ming Fang He. ETD. Electronic version approved: May 2008. Includes bibliographical references (p. 203-215) and appendices.

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Marchaza, Lauren M. "Selling authenticity the role of Zuni Knifewings and Rainbow gods in tourism of the American Southwest /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1180626964.

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Mixon, Emily Don. "The lightness of being and the burden of gravity." Click here to access thesis, 2008. http://www.georgiasouthern.edu/etd/archive/fall2008/emily_d_mixon/Mixon_Emily_D_200808_MFA.pdf.

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Thesis (M.F.A.)--Georgia Southern University, 2008.
"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts." Directed by Jessica Hines. ETD. Includes bibliographical references (p. 36)

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Van, Leuven Heidi Marie. "Exploring contexts of ubiquitous structures." Click here to access thesis, 2009. http://www.georgiasouthern.edu/etd/archive/spring2009/leuven_h_van/vanleuven_heidi_m_200901_MFA.pdf.

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Thesis (M.F.A.)--Georgia Southern University, 2009.
"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts." Directed by Patricia J. Walker. ETD. Includes bibliographical references (p. 46

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Lin, Wei. "The Buddhist Caves at Qixiashan, China (Southern Dynasties, 420-589 CE)." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1181919094.

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Kenny, John. "The Chicano Mural Movement of the Southwest: Populist Public Art and Chicano Political Activism." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/492.

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This work examines an art movement that was a direct outgrowth of a populist civil rights movement of the late 1960â€™s in the Southwest United States. This art, the Chicano Murals created as part of el Movimiento in San Diego, California was intended primarily as a didactic communication medium to reach into the barrios and marginalized neighborhoods for the primary purpose of carrying a resistance message to the semiliterate mestizo population within. Its secondary purpose was to bring a message from within these minority neighborhoods outward to the privileged elite, both Anglo and Hispanic, that within the confines of the barrio there exists a culture and heritage that has value. The Chicano Murals were ubiquitous throughout the southwest United States with concentration of the art in those areas adjacent to the Mexican border. This work examines some of the murals, and the politics associated with their creation principally in San Diego, California, and some activities in Los Angeles, and Santa Fe, New Mexico. This dissertation posits that it has been well established that art in public space is often a contentious matter and when it also carries a contra message, as did the Chicano murals, it may be considered intrusive and abrasive. The social environment into which these murals were insinuated--the public sphere, the intellectual territory of high art and the elite system of private and government cultural patronage, are examined in the context of their effect upon the mural content and conversely, the effects of these murals upon diversity in the high art and museology of the United States.

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Murphy, Christopher Eric. "Reconstructing paradigms of expression." Click here to access thesis, 2007. http://www.georgiasouthern.edu/etd/archive/spring2007/christopher_e_murphy/Murphy_Christopher_E_200701_mfa.pdf.

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Thesis (M.F.A.)--Georgia Southern University, 2007.
"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts." In Art, under the direction of Patricia J. Walker. ETD. Electronic version approved: May 2007. Includes bibliographical references (p. 37-38)

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Sessions, Julie Marie A. "Bridging aesthetics and community a story of a successful school /." Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/fall2008/julie_m_sessions/Sessions_Julie_M_200808_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2008.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Directed by Delores Liston. ETD. Includes bibliographical references (p. 214-222) and appendices.

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Kivi, Nicholas. "Reverse Engineering of Ancient Ceramic Technologies from Southeast Asia and South China." Thesis, The University of Arizona, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13426471.

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Ceramic technologies of Myanmar and South China were analyzed in order to determine characteristic traits and technological origins. Given Myanmar’s geographically strategic position between China and Southwest Asia, its ceramic history needs to be reevaluated among the distinct traditions of Southeast Asia. The ceramics of Myanmar show evidence of imitation China and Southwest/Central Asia using locally sourced materials, giving support to Dr. Myo Thant Tyn’s theory of the convergence of the Chinese and Southwest/Central Asian ceramic traditions in Myanmar.

Seven ceramic technologies of Myanmar were analyzed: celadons, black-glazed jars (lead-barium and lead-iron-manganese glazes), brown ash glaze ware, green and opaque white-painted glaze ware and turquoise-glazed, coarse-bodied white earthenware. Celadon glazes and brown glazes were made with ash, similar to the Chinese celadon tradition. Green-and-white opaque ware utilized copper-green colorant glaze decoration with tin and lead oxides as opacifying agents on low-fired oxidized bodies. Both these traditions are probably derived from Southwest Asian ceramic and glass traditions. High-soda, copper-turquoise glazes on coarse white earthenware bodies are influenced by Southwest and Central Asian low-fire ceramic and glass traditions. Black-glazed, “Martaban”-style storage jars were variable in body and glaze technology and are still of indeterminable technological origin. A phase-separated glaze was analyzed that had a similar phase-separated appearance to northern Chinese Jun ware.

Additionally, two black-glazed ware types from South China with vertical streaking phase separation were analyzed: Xiba kiln of Sichuan and Jianyang kilns of Fujian. The recently discovered and excavated Xiba kiln made experimental and striking stoneware bowls similar to Jianyang “hare’s fur” ware. Reverse engineering the manufacture of Xiba kiln ware determined that Xiba was an innovative site that imitated Jianyang ware aesthetically but not technologically. Xiba and Jianyang do not have any connection to the six Burmese glaze styles, however, future analyses of Southeast Asian ceramics can use the data for comparison and variability research.

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Steynberg, Peter John. "A survey of San paintings from the southern Natal Drakensberg." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004918.

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From Introduction: The study of San rock art has undergone several different phases in approach to the interpretation of art. Two approaches are currently in use. The first emphasises the art as narrative or literal representations of San life and its proponents may be called the "art for art's sake" school. Adherents to the second approach make detailed use of the San ethnography on the belief system of these people and are highly critical of the literalists because they provide no such context. The second approach has rapidly gained ascendancy and replaced the "art for art's sake" school over the last twenty years. The watershed came with the researches of Vinnicombe (1967) in the southern Drakensberg and Maggs (1967) in the Western Cape who both embarked upon programs of research which had quantification and numerical analysis at their core, so that they could present "...some objective observations on a given sample of rock paintings in a particular area..." in order to compare and contrast paintings from geographically different areas. What Vinnicombe's numerical analyses clearly showed was that the eland was the most frequently depicted antelope and that it must have played a fundamental role "...in both the economy and the rellgious beliefs of the painters...", which opened up the search for what those beliefs might be and how they could be related to the rock art itself. In order to understand what the rock art was all about it was recognised that researchers had to meaningfully contextualise the art within the social and religious framework of the artists themselves. Without the provision of such a relevant context, as many different interpretations of the paintings could be made as there were people with imaginations. Such a piecemeal approach provides a meaningless jumble of subjective fancy which tells us something about the interpreters but nothing about the rock art. It is unfortunate that the advent of this explicitly social and anthropological approach marks the end of the amateur as a serious interpreter of San rock art, for the juxtaposition of the ethnography with the rock art requires a proper training in which the intricacies of symbol and metaphor can be recognised.

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Freeman, Christopher John. "Are chemical defenses allocated within sponges to defend regions most at risk to predator attack?" Click here to access thesis, 2007. http://www.georgiasouthern.edu/etd/archive/spring2007/christopher_j_freeman/Freeman_Christopher_J_200701_MS.pdf.

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Thesis (M.S.)--Georgia Southern University, 2007.
"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Science." Under the direction of Daniel F. Gleason. ETD. Electronic version approved: May 2007. Includes bibliographical references (p. 73-83) and appendices.

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Ukpong, Onoyom Godfrey. "Contemporary southern Nigeria art in comparative perspective reassessment and analysis, 1935-2002 /." Diss., Online access via UMI:, 2006.

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Stoffle, Richard W., Lawrence L. Loendorf, Diane E. Austin, David B. Halmo, Angelita S. Bulletts, and Brian K. Fulfrost. "Tumpituxwinap (Storied Rocks): Southern Paiute Rock Art in the Colorado River Corridor." Bureau of Applied Research in Anthropology, University of Arizona, 1995. http://hdl.handle.net/10150/279732.

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The Bureau of Reclamation (BOR) is interested in understanding the human and environmental consequences of past Glen Canyon Dam water release policies and using these data to inform future water release and land management policies. One step in this direction is to understand how American Indian people have used the Colorado River and adjoining lands in Glen Canyon and Grand Canyon. The BOR, through its Glen Canyon Environmental Studies (GCES) office, has provided funds for various American Indian groups to identify places and things of cultural significance in the 300 mile long river and canyon ecosystem that has come to be called the Colorado River Corridor. This study is the second to report on the cultural resources of the Southern Paiute people found in this riverine ecosystem. The rock art study funded by the BOR and managed by the Glen Canyon Environmental Studies (GCES) office is the basis of this report. This study is unique in the history of rock art studies and is unusual when compared with other American Indian cultural resource assessments. There are five unique features of this study. First, all funds for conducting the research were contracted to the Southern Paiute Consortium. Second, the Southern Paiute people decided during the previous studies that their next study would be about rock art. Third, the GCES /BOR permitted research to be conducted in terms of Paiute perceptions of the study area rather than specifically in terms of the scientifically established study area for the project. Thus, it was possible to conduct the Kanab Creek side canyon study. Fourth, all interviews were guided by a ten -page survey instrument, so Southern Paiute responses could be systematically compared. Fifth, both all-male and all- female research trips were conducted, thus producing the first gender - specific interviews of rock art sites. The resulting study is both interdisciplinary and multivocal.

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Gilbert, Christine M. "The Ogden Museum of Southern Art University of New Orleans development internship." ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/24.

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This detailed report of a development internship at The Ogden Museum of Southern Art, University of New Orleans, includes an organization profile, a description of the activities performed during the internship, an analysis of an organizational management challenge, a proposed resolution to the management challenge, and a discussion of the short and long range effects of the internship. The roles and responsibilities of a board of directors, and the qualities sought in board members, are important aspects of the analysis and resolution of the management challenge.

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Riep, David Matthew Merkel. "House of the Crocodile: south Sotho art and history in southern Africa." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2616.

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The inability to attribute art objects to the Basotho culture remains a problem for art historians and anthropologists alike. Current publications on the arts of Africa include few, if any, objects attributed to South Sotho-speakers, and often attribute Basotho objects under the broad label of "southern African," rather than linking them to artists from this particular culture. This is largely due to a lack of research on Basotho arts and culture, as well as the widespread belief that the cultures of the region are simply too enmeshed with one another for the arts to be distinguished. However, it is important that we be able to tell the art of one African people from another if we are ever to understand accurately how art expresses peoples' ideas and beliefs about themselves and the world in which they live. Through this project I challenge the label of "southern Africa" that is so often used in attributing art objects from the region, and develop a definitive system of identification for Basotho objects. This system differentiates Basotho arts from works produced by other cultures in southern Africa, and produces the first all-inclusive anthology of South Sotho art history. While my work first and foremost demonstrates the existence of a unique and identifiable Basotho visual style, it also investigates the roles that stylistic characteristics have played in the presentation of southern Sotho identity beginning with the formation of the Basotho polity 200 years ago. Furthermore I identify the contextual and cultural significance of an entire range of Basotho forms, generating a better understanding of Basotho art and culture. In order to complete this, I use a Morellian approach to identify and define the unique and specific visual aspects found among Basotho arts. This type of analysis is based solely on the external physical characteristics of a work of art, and focuses on the identification of similarities and differences within a group of objects. The resulting data provides a taxonomy for the classification of cultural, regional, and local styles through the isolation of the visual aspects of individual objects. However, because the Morellian methodology takes a morphological approach, I use historical literature and contemporary interviews to connect the function and social context to the objects in order truly to develop an art history of the Basotho. Through this analysis, I identify visual aspects that are unique to southern Sotho arts, and further locate visual signs that assert one's specific clan lineage within the broad "southern Sotho" cultural grouping. This allows me to clearly define the meaning and significance of the "Basotho" cultural moniker, and develop a nuanced understanding of identity amongst southern Sotho peoples.

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Gundlach, Cory Keith. "The river and the shrine: Lobi art and sense of place in Southwest Burkina Faso." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2882.

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Lane, Charles Dennison. "People's war and the United States in southeast Asia: a study in social philosophy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31233648.

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Hammers, Roslyn Lee. "The production of good government : images of agrarian labor in Southern Song (1127-1279) and Yuan (1272/79-1368) China /." online access from Digital dissertation consortium, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3057957.

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Koegel, John. "Mexican-American music in nineteenth-century Southern California : the Lummis wax cylinder collection at the Southwest Museum,Los Angeles /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400363816.

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Ndlovu, Ndukuyakhe. "A comparative analysis of rock art in southern Africa : animals and cosmological models." Thesis, University of Newcastle Upon Tyne, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613627.

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This dissertation examines the animal pattern derived from the detailed statistical analysis I carried out of the published rock art data, the data from Brandberg/Daureb region, and fieldwork I conducted in the northern parts of KwaZulu-Natal province, South Africa. This study, which highlights the value of quantitative analysis and attempts to find alternative interpretations for animal representation in rock art, is the first overview of the distribution of animal in southern African rock art. It provides an opportunity to explain an aspect of the art that has not previously received much attention in southern African rock art studies. While it has been previously noted by different rock art researchers that there is animal variation in terms of which animals are dominant species throughout southern Africa, this study provides the quantitative extent information on how far into which such variation exist. In attempting to provide an explanation for for variation in the representation of animals animal variation in southern African rock art, I use two main approaches: (i) correlation between most represented animals in the art and the ten vegetation biomes of southern Africa, and (ii) the application of the an adapted four-cell matrix model aimed at assessing alternative interpretations of rock art, in particular, the totemic and secular interpretations. Through the first approach, I show that there is a reasonable correlation between the areas where each of the four animals (eland, giraffe, kudu, and springbok) dominates (eland, giraffe, kudu, and springbok) and their known natural distribution. This is confirmed by their historically recorded natural distribution and the by faunal records. By applying the modified four-cell matrix model to rock art data from six regions, I establish that one animal in each takes the central predominance in each. This is a characteristic of shamanic communities. However, the major deviation is that the four-cell derived interpretation does not overly emphasise the dominance of eland to the exclusion of other animals that are well represented in the art.

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Saylor, Cynthia L. "Report on an Arts Administration internship with the Ogden Museum of Southern Art." ScholarWorks@UNO, 1996. http://scholarworks.uno.edu/aa_rpts/48.

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This internship report describes my experiences and impressions while working with The Ogden Museum of Southern Art (OMSA). The OMSA will be a museum devoted to the visual arts heritage of the American South. The museum is scheduled to open in 1998. At the time of my internship the OMSA was in the middle of a capital campaign to raise the necessary funds to house and endow the collection. My internship consisted of planning and implementing an educational program. The event introduced the new director to the various groups that are cooperating to make the OMSA a reality.

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Sayer, Cherie Anne. "The body in pain." Click here to access dissertation, 2006. http://www.georgiasouthern.edu/etd/archive/summer2006/cherie%5Fa%5Fsayer/Sayer%5FCherie%5FA%5F200605-mfa.pdf.

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Thesis (M.F.A.)--Georgia Southern University, 2006.
"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Art." ETD. Includes bibliographical references (p. 93-94).

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Rhodes, Steven Dale. "An examination of practices used by rural Georgia school principals in hiring highly qualified teachers art." Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/spring2008/steven_d_rhodes/rhodes_steven_d_200801_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2008.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Under the direction of Barbara Mallory. ETD. Electronic version approved: May 2008. Includes bibliographical references (p. 135-146) and appendices.

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Singh, Salil Kishore. ""Emerging from shadows" : the puppeteer's art in Tolpava Koothu, shadow puppetry of southern India /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Mwendo, Nilima Z. "Passionate visions of the American South: self-taught artists from 1940 to the present: an Arts Administration internship at the New Orleans Museum of Art." ScholarWorks@UNO, 1995. http://scholarworks.uno.edu/aa_rpts/54.

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This paper demonstrates the overall success of bringing non-traditional audiences to a New Orleans Museum of Art (NOMA) exhibition, "Passionate Visions of the American South: Self-Taught Artists from 1940 to the Present." It also highlights the success of some of its public programs. However, the process of attracting these audiences to the museum falls short in its attempts at developing long-term relationships with NOMA. The first chapter provides historical background on NOMA and offers an overview of the "Passionate Visions" project. Chapter Two describes, in relative detail, the project's community outreach component and implementation of its public programs. It closes with an analysis of short range and long term impacts. The final chapter further analyzes the project experience, inclusive of the management style of the project director, issues surrounding conflict of interest and ethics, and the degree of NOMA's commitment, or lack thereof, to long-term non-traditional audience inclusiveness.

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Brundrit, Jean. "Photographic representation of lesbian identity with special reference to the Southern African context." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51873.

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Thesis (MA)--Stellenbosch University, 2000.
ENGLISH ABSTRACT: This thesis presents a discussion of a photographic representation of lesbian identity in Southern Africa. Two photographic series, Does your lifestyle depress your mother? and the Dyke Career Series (collectively referred to/exhibited as Lavender Menace) produced during the period 1997 to 1999 form the practical component of this MA submission. Lavender Menace is considered in relation to lesbian identity, lesbian social visibility, stereotypes and the relationship between photography and 'reality'. The various readings that the works can be said to have, are discussed and an explanation of the purpose in photographing the 'ordinariness' of the lesbians who were imaged, is included. A historical overview of the concepts 'lesbian', and 'visibility'specifically in South Africa during the last 50 years, and how homophobia has affected lesbian life is presented in Chapter One. In Chapter Two, the notion of stereotypes is examined, particularly those of the 'butch' lesbian and the 'lipstick' or 'chic' lesbian. Neither of these stereotypes is entirely accurate and the role of stereotypes in potentially disseminating mis-information and prejudice, and how this influences potential ways of identity construction, is discussed. It can be seen that this influence of stereotypes on lesbians and lesbian visual representation cannot be ignored as the dominant stereotypes in society are too pervasive. The notion of readability is explored in Chapter Three. The constructed nature of photography, specifically with regard to Lavender Menace, is discussed in relation to truth, theatricality, the use of text and possible readings of the work. An explanation of my particular purpose in choosing to photograph in the way I did is included, concluding that although meaning is not fixed, the intention of the artist can be visually presented in a 'legible' manner (if desired) to assist possible interpretations. This thesis/research has been utilised to inform my own artistic production, by exploring the questions and issues raised while producing Lavender Menace, namely lesbian visibility, the use of stereotypes and how images are interpreted. This thesis and Lavender Menace should contribute to the general research area by promoting social visibility of lesbians in South Africa.
AFRIKAANSE OPSOMMING: Hierdie tesis bied 'n bespreking van 'n fotografiese voorstelling van lesbiese identiteit in Suid-Afrika. Die praktiese komponent van die voorlegging vir die Meestersgraad bestaan uit twee reekse fotos, Does your lifestyle depress your mother? en Dyke Career Series, wat in die periode vanaf 1997 tot 1999 geproduseer is (en gesamentlik as Lavender Menace uitgestal/beskou word). Lavender Menace word in verhouding tot lesbiese identitieit, lesbiese sosiale sigbaarheid, stereotipes en die verhouding tussen fotografie en 'werklikheid' beskou. Die verskillende lesings/beduidenisse wat die werk sou kon hê, word bespreek en 'n verduideliking van die doelstelling met die fotografering van die 'gewoonheid' van die lesbiese wat verbeeld is, word ingesluit. 'n Historiese oorsig van die konsepte 'lesbies' en 'sigbaarheid', veral in Suid-Afrika gedurende die afgelope 50 jaar, en hoe homofobie die lesbiese lewenswyse geaffekteer het, word in Hoofstuk Een aangebied. In Hoofstuk Twee word die idee van stereotipes ondersoek, veral die van die 'butch' en die 'lipstiffie-', of'sjiek' lesbiese vrou. Geeneen van hierdie stereotipes is geheel-en-al korrek nie en die rol van stereotipes in die potensiële verspreiding van verkeerde inligting en vooroordeel en hoe dit die potensiële wyses vir die konstruksie van identiteit affekteer, word bespreek. Daar word getoon dat die invloed van stereotipering op die lesbiese vrou en die lesbiese visuele voorstelling nie geïgnoreer kan word nie, aangesien die oorheersende stereotipes in die samelewing te deurdringend is. Die idee van leesbaarheid word in Hoofstuk Drie ondersoek. Die gekonstrueerde aard van fotografie, veral met betrekking tot Lavender Menace, word met betrekking tot die waarheid, die teatrale, die gebruik van teks en moontlike lesings/interpretasies van die werk bespreek. 'n Verduideliking van my besondere doelstelling met die keuse van hoé om te fotografeer word ingesluit, met die konklusie dat, alhoewel betekenis nie finaal vasgelê is nie, die bedoeling van die kunstenaar visueel op 'n 'leesbare' manier voorgestel kan word (indien dit verlang word) om moontlike interpretasies te ondersteun. Die tesis/navorsing is aangewend om my eie artistieke produksie in te lig deur die vrae en kwessies wat gedurende die produksie van Lavender Menace na vore gekom het, namens lesbiese sigbaarheid, die gebruik van stereotipes en hoe beelde geïnterpreteer word, te ondersoek. Hierdie tesis, tesame met Lavender Menace, behoort Inbydrae te lewer tot die navorsingveld in die algemeen deur die bevordering van die sosiale sigbaarheid van die lesbiese in Suid-Afrika.

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Ker, Yin. "Figurer, voir et lire l’insaisissable : la peinture manaw maheikdi dat de Bagyi Aung Soe (1923/24–1990)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040144.

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Héritier de l’universalisme humaniste de Rabindranath Tagore par sa formation à Śāntiniketan en Inde, le ditpère de l’art moderne birman Bagyi Aung Soe (1923/24–1990) se consacra à figurer les réalités ultimes enfonction des enseignements bouddhiques. Pour ce faire, il mit au point un langage pictural qu’il baptisa lapeinture « manaw maheikdi dat » qui signifie la création artistique par la culture mentale. Ses référencesvisuelles, variant de la physique à l’ésotérisme bouddhique, de la culture populaire à la poésie, comprennent toutce qui fut à sa portée intellectuelle et spirituelle dans la Birmanie socialiste militaire de 1962 à 1988. Soninsistance sur la somme des héritages propres à cet espace-temps, de même que son dépassement descloisonnements conceptuels selon les disciplines, les frontières nationales ou les divisions chronologiques, exigeun récit conçu au regard des significations contextuelles, un récit adapté et affranchi du modèle prétendumentinternational de l’art euraméricain. Afin de proposer un récit sur comment il compta rendre manifestel’insaisissable selon les circonstances propres au contexte de sa vie, nous mettons l’accent sur les conditionsaccueillant la genèse et la diffusion de cette production artistique dite « la plus moderne de l’art moderne » enraison de sa dimension transnationale et transhistorique. À partir d’une sélection parmi plus de quatre milleoeuvres et de centaines de témoignages écrits et oraux recueillis, nous examinons non seulement la fabrication decette peinture qui reste aussi non étudiée en Birmanie qu’inconnue de la scène internationale, mais aussi lesmanières dont nous pouvons la lire et la voir
A student at Rabindranath Tagore’s ashram in Śāntiniketan, India, Myanmar’s “father of modern art” BagyiAung Soe (1923/24–1990) embraced his Indian gurus’ concept of art and the artist. In the spirit of the laureate’shumanist universalism, he strove to picture Buddhist teachings. His signature idiom christened “manawmaheikdi dat”, which has yet to be studied in Myanmar and is virtually unknown at the international level, reliedon meditation to achieve advanced mental power in order to picture the most elemental components of allphenomena, and its visual references included all that was possibly accessible under socialist rule in Burma(1962–1988). With little regard for artistic conventions and categorisations according to discipline, nation andchronology, Aung Soe drew from the sum of artistic, intellectual and spiritual traditions defining his space andtime, varying from quantum physics to esoteric Buddhism, from popular culture to poetry. The nature of hisapproach, method and subject matter, coupled with his country’s exceptional circumstances, demands a newnarrative of art that is unfettered by the assumptions inherent to the purportedly international framework ofEuramerican modern art. Focusing on the contextual significances of the genesis and reception of manawmaheikdi dat painting, this dissertation examines the making, the reading and the seeing of this pictoriallanguage whose transnational and transhistorical dimension renders it “the most modern of modern art”. Basedon a selection of the artist’s works and writings, as well as witnesses of his life and practice, we attempt a storyof how he pictured and made manifest the formless on his own terms

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Harmon, Susan Lee. "Poiesis." Click here to access thesis, 2007. http://www.georgiasouthern.edu/etd/archive/summer2007/susan_l_harmon/Harmon_Susan_L_200708_MFA.pdf.

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Thesis (M.S.)--Georgia Southern University, 2007.
"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts." Under the direction of Patricia Walker. ETD. Electronic version approved: December 2007. Includes bibliographical references (p. 55-56) and appendix.

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De, Villiers Katerina Lucya. "The JH Pierneef collection of the City Council of Pretoria housed in the Pretoria Art Museum." Diss., University of Pretoria, 1997. http://hdl.handle.net/2263/27532.

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This study is based on the catalogue/checklist of Pierneef works in the Pretoria Art Museum collection. The artist’s life, social, political and artistic influences of the period, both local and international, may be deduced from works analysed and discussed. The Arts and Crafts movement was a powerful influence affecting ideas on national identity, folk art and the vernacular from the middle of the nineteenth century onwards. A world-wide romantic nationalism stimulated a search for identity and exploitation of the indigenous. It is argued that these trends may be identified in the artistic development of Pierneef who, through friends, wide reading and intensive study was alive to European developments but focused on the indigenous arts of Southern Africa. He was the first South African artist to recognize Busman art and that of the black peoples. They had a profound influence on his own development and the motifs of his art.
Dissertation (MA)--University of Pretoria, 1997.
Historical and Heritage Studies
unrestricted

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Washell, Cathryn F. "The Handweavers of Modern-Day Southern Appalachia: An Ethnographic Case Study." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3174.

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One of the most prominent traditions associated with the Southern Appalachians is the art of weaving. Extensive research has focused on the history of Appalachian weaving, but there is little on the current weaving community. Today, the region still serves as an axis for weaving, and many practicing weavers, weaving instructors, and learning institutions can be found in Southern Appalachia. The core of this study is the interviews with ten weavers that reside and practice their work in Appalachia. Using concept coding, the transcripts of the interviews led to the development of four major themes that highlight the weavers’ discovery of their weaving passion, what continues to be a source of motivation for weaving, how today’s weavers use weaving as a source of income, and how weaving continues to be deeply connected to Southern Appalachia’s art and craft making traditions.

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Zedeno, M. Nieves, Richard W. Stoffle, Genevieve Dewey-Hefley, and David Shaul. "Storied Rocks: American Indian Inventory and Interpretation of Rock Art on the Nevada Test Site." Bureau of Applied Research in Anthropology, The University of Arizona in Tucson, 1999. http://hdl.handle.net/10150/272093.

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This government-to-government consultation between the Department of Energy, Nevada Operations Office (DOE /NV) and the Consolidated Group of Tribes and Organizations (CGTO) focused on the interpretation of 10 rock art sites; seven on the Nevada Test Site (NTS), and three on the Yucca Mountain Site Characterization Office (YMSCO). The consultation entailed a systematic ethnographic study of petroglyphs, pictographs, and other rock art manipulations. The objective of the project was to gain an understanding of the cultural significance of rock art for contemporary American Indians and its place in their traditional cultural landscapes. Research activities involved visits to rock art sites by tribal elders and tribal cultural experts. During the field visits, Indian consultants responded to standardized interviews and provided observations, comments, and recommendations regarding each of the sites under study. The project involved 14 American Indian tribes and two Indian organizations that represent Indian people having aboriginal and historic ties to lands currently occupied by the NTS. The study was initiated as part of the overall DOE /NV American Indian Program, which includes a decade of project - specific and general consultation efforts. This study built upon previous efforts and contributed to DOE /NV's understanding of American Indian cultural resources on the NTS.

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Marchaza, Lauren Marie. "Selling Authenticity: The Role of Zuni Knifewings and Rainbow Gods in Tourism of the American Southwest." Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1180626964.

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Durrence, Barney. "Agrarian impressions." Click here to access thesis, 2005. http://www.georgiasouthern.edu/etd/archive/fall2005/barney%5Fm%5Fdurrence/durrence%5Fbarney%5Fm%5F200508%5Fmfa..pdf.

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Thesis (M.F.A.)--Georgia Southern University, 2005.
"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts" ETD. Includes bibliographical references (p. 39-40) and appendices.

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McKellar, Trevor T., and Trevor T. McKellar. "Evaluating How Representative Simple Multiscalar Drought Indices Are of Modeled Soil Moisture Across the Desert Southwest United States." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/622900.

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Drought indices based on monthly precipitation and sometimes temperature are widely used due to their simple calculation with readily available climate data. The portrayal of drought through simple precipitation anomalies or water balances when accounting for temperature may not capture the potentially complex evolution of drought events due to the timing, intensity, and frequency of precipitation events at the daily scale. In this study, we present a new drought index that incorporates a deterministic soil model, HYDRUS-1D, and daily climate data to assess how representative simple drought indices are of soil moisture status in the Southwest. Specifically, we compare our drought index with two widely used drought indices: the Standardized Precipitation Index (SPI) and the Standardized Perception-Evapotranspiration Index (SPEI). Modeled soil moisture output was summed into monthly values for direct comparison between indices. SPI and SPEI proved to be representative of soil moisture status at shallow depths, correlating best at a two-month window. SPI correlated higher with our modeled drought index than SPEI in shallow settings across all study sites. Intense drought events were controlled by the magnitude and frequency of precipitation, with large events creating water surplus and then a slow decay in soil moisture until the next large event. Furthermore, heat map correlations indicate that monitoring drought at depth is dependent upon the previous years monsoon, with the best correlating window growing with distance from monsoon onset. Modeled soil moisture showed volumetric water content increased during monsoon season and remained high through the fall and into the winter months. Higher moisture content increased hydraulic conductivity, priming the soil profile for winter recharge. We believe that the addition of a soil physics based drought index greatly improves drought monitoring conditions for the southwest.

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Grainger, Stephen John. "Organisational guanxi and state-owned enterprises in South-west China." University of Western Australia. Asian Studies Discipline Group, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0107.

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[Truncated abstract] This thesis investigates the phenomenon of organisational guanxi in business in the SOE hotel environment in south-west China. A general aim is to give the reader a sense of how organisational guanxi operates in this environment. It identifies the characteristics and roots of organizational guanxi and discusses the significance of its operation in this environment. This thesis also analyses the implications of the continued practice of organizational guanxi and the prospects of its future as the Chinese economy continues to evolve toward a more market orientation. In Chapter One, the phenomena of guanxi, mainzi and renqing are defined and the importance of their role in conducting business in mainland China proposed. … The findings of this new research in south-west China provide conclusive evidence that in this region the guanxi network remains the lifeblood of the business community (Kao, 1993). In addition, this research throws up some conclusions that are not aligned with that of Guthrie?s (2002) Shanghai-based findings. In Chapter Nine, The Conclusion, the major findings of this thesis are revisited and include the acknowledgement and definition of organisational guanxi, the exploration of the roots of organisational guanxi inside the danwei, the differentiation of intra-organisational guanxi from inter-organisational guanxi, the definition of the concept of guanxi neglect, and a comparison of the decay in the strength and usage of guanxi in south-west China with that in the Shanghai region.

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Miller, B. Darlene. "Playground for the imagination." Click here to access thesis, 2006. http://www.georgiasouthern.edu/etd/archive/spring2006/rebecca%5Fh%5Fsmith/smith%5Frebecca%5Fh%5F200601%5Fma.pdf.

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Thesis (M.F.A.)--Georgia Southern University, 2006.
"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts" ETD. Includes bibliographical references (p. 57).

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Lee, Hui-shu. "The domain of Empress Yang (1162-1233) art, gender and politics at the Southern Song court /." New Haven, Conn. : Yale University, 1994. http://catalog.hathitrust.org/api/volumes/oclc/37238041.html.

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Helland, Madeline. "Syncretic Souvenirs: An Investigation of Two Modern Indian Manuscripts." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1185.

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The objective of this project was to establish a provenance for two Indian manuscripts that were recently discovered in the collections at Scripps College. Based on their illuminations, script, and binding structure, I was able to conclude that these two manuscripts are Hindu religious texts created around the 19th or 20th century. To determine an approximate origin and the significance of these volumes, my research focused on the syncretism of religion, material history, and power dynamics in India. Their context was specifically framed within the history of manuscript construction and conservation.

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Dissertations / Theses on the topic 'Southest art'

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