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1
Bruneel, Benjamin. "Art and worship in Zwinglian theology." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p001-1141.
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Lindloff, Aaron. "Filmic icons a new art for worship /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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Chan, Brian S. "The beauty of God and the art of worship." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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McComas, Magers Robyn. "Interactions in the space of one tree /." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030331.152733/index.html.
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Wheeler, Geraldine Jean, and res cand@acu edu au. "Visual Art, the Artist and Worship in the Reformed Tradition: a Theological study." Australian Catholic University. School of Arts and Science, 2003. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp41.29082005.
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The Reformed tradition, following Zwingli and especially Calvin, excluded images from the churches. Calvin rejected the sacred images of his day as idolatrous on the grounds that they were treated as making God present, that the necessary distinction between God and God’s material creation was not maintained, and because an image, which rightly was to be mimetic of visible reality, could not truthfully depict God. Calvin approved the Renaissance notion of visual art as mimetic and he understood that artists’ abilities were gifts of God and were to be used rightly. He also had a very keenly developed visual aesthetic sense in relation to nature as the “mirror” of God’s glory. However, the strong human tendency towards idolatry before images, he believed, meant that it was not expedient to place any pictures in the churches. Reinterpretation of key biblical passages, particularly the first and second commandments (Calvin’s numbering), together with changes in the understanding of what constitutes visual art, of the relationships between words and visual images, and of the processes of interpretation and reception not only of texts but of all perceived reality, lead to a re-thinking of the issues. The biblical narrative with its theological insights can be interpreted into a visual language and used by the church as complementary to, but never replacing, biblical preaching and teaching in words. Attention to the visual aesthetic dimensions of the worship space is important to allow for this space to function as an invitation and call to worship. Its form, colour, light and adorning may give aesthetic delight, which leads to praise and thanksgiving, or it may provoke other response which helps people prepare to offer worship to God. The world and its people depicted in visual art/image may inform the praying of the church and the visual representation of the church (the saints) may provide congregations with an awareness of the breadth of the church at worship in heaven and on earth. In the present diversity of views about visual art and the work of the artist there is freedom for the artist to re-think the question of vocation and artists may find new opportunities for understanding and exercising their vocation not only in secular art establishments and the community but also in relation to the worship of the church.
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Mahonski, Christopher. "A TLAPALIZQUIXOCHITL TREE." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1838.
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Fleischman, Kimberly Ann. "Sheep Hill Community Tree." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1357.
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An urban community is a fusion of new and old that is constantly changing. We understand better the plight of a community through raising awareness of its unique history and visual character. Linking individual and community experiences offers an opportunity for dialogue, especially as long-time residents and their new neighbors learn about their different pasts and explore their common future. Community building happens from within, when many individuals sharing common values create positive change.
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Mahan, Kevin Paul. "It was and It isn't a rhetorical exploration of simulacra in emerging church vintage worship /." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.
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Wood, Toni A. "The Tornado Tree: Drawing on Stories and Storybooks." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3187.
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Storytelling has been used by many cultures to record events, research genealogy, and to teach moral lessons. Some cultures passed on their histories and important events through oral narration, papyrus, or cathedral stained glass windows. More modern cultures write personal histories, and use modern technology to communicate with each other. This study is an arts based project based on writing a storybook. It is an exploration of why storytelling is important from a cultural point of view using my experiences to write a storybook based on a true event from my family history.
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Hughes, Patricia J. "A study of Built of living stones art, architecture and worship, in the light of practical theology /." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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Thesis (D. Min.)--Catholic Theological Union at Chicago, 2003."This study is intended for those who assist a parish in building or renovating a worship space. The context is situated in the U.S. Catholic parishes in the twenty-first century ..."--Leaf xviii. Vita. Includes abstract. Includes bibliographical references (leaves 128-136).
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Pearce, Stewart 1954. "Effects of computer administration upon a tree drawing projective technique." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/277283.
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Projective tree drawing techniques are used by clinicians and therapists to assess the personality and emotional state of patients. This study compares the results of administering a computerized projective tree drawing technique with the results obtained by a pencil and paper counterpart. Both techniques are based upon the tree drawing component of the House-Tree-Person technique and related tests. With Compute-A-Tree, subjects created tree pictures from a menu of preselected imagery while subjects taking the conventional form of the technique produced spontaneous tree drawings. A post-drawing questionnaire (PDQ) employing a Likert scale was used to measure subjects attitudes regarding their tree images. The mean score for computer rendered trees was higher than the mean score for conventionally rendered images. Similarities were found between responses to the images obtained through the two forms of administration.
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Siddons, Kyle. "Utilizing North American Art Song Settings of Psalm Texts in Worship Services: an Annotated Guide for Singers, Voice Instructors, and Music Ministers." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500200/.
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This dissertation provides a guide for appropriate use of North American art song settings of biblical psalms for solo voice written after 1950 in the worship services of Christian faiths. The songs analyzed are for all voice parts and a variety of accompanying ensembles. The placement of each song on a specific calendar day is guided by the individual church calendars and lectionaries, on the prevalent themes of the text, and the characteristics of the musical setting. Performance of these songs only in a concert setting limits their usefulness for singers, voice teachers, and music directors alike. A new and worthy performing context can be established by analyzing the text and musical settings.
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Famule, Olawole Francis. "Art and spirituality : the Ijumu northeastern-Yoruba egúngún /." Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1372%5F1%5Fm.pdf&type=application/pdf.
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Brandt, Christian. "A, B, SEE — 1, 2, TREE : om konsten att se det som är osynligt för andra." Thesis, Konstfack, Grafisk Design & Illustration, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-29.
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Moeller, Mark L. "Using varied forms of communication to enhance worship engagement at First Baptist Church of San Angelo, Texas." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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Karangi, Matthew Muriuki. "The Sacred Mugumo Tree : revisiting the roots of Gikuyu cosmology and worship : a case study of the Gicugu Gikuyu of Kirinyaga District in Kenya." Thesis, SOAS, University of London, 2005. http://eprints.soas.ac.uk/28797/.
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The aim of this thesis is to examine the Gikuyu traditional cosmology and worship, taking the Mugumo (Ficus natalensis / Ficus thonningii), a sacred tree among the Gikuyu as the key to understanding their cosmology. The research explores in depth the Gikuyu religio-philosophical world-view as an advent to preparing the ground for understanding why the sacred Mugumo played a paramount role in the life of the Gikuyu people. In the study of the sacred Mugumo the thesis examines a three-tier relationship relevant and integral to understanding Gikuyu cosmology: Ngai (God) as the Mumbi (the creator) together with the Ngoma (ancestors); the Gikuyu people, and finally with nature. The thesis focuses on the sacred Mugumo tree, taken as the axis of the Gikuyu religio-political configuration. Consequently, crucial questions are asked: what are the characteristics of this tree? What religious and political role does it play in Gikuyu cosmology and worship? In other words, what are its religio-political functions? What ceremonies and rituals were conducted around it and how does this sacred tree and the rituals associated with it validate the Gikuyu claim to land, political power, religious hegemony and identity? Using mainly the theories of V.Y Mudimbe, B. Berman, R. Horton, and an analysis of data collected in the Gicugu Division, Kenya, the thesis contends that the Colonial government, the Missionaries, the African scholars and the Gikuyu elders collaborated in the forging and invention of the Gikuyu identity. Thus emerges the present image of Ngai and the Gikuyu as we know them today. The crucial question addressed is whether this conception is congruent to the original Gikuyu understanding of Ngai. The findings indicate that the sacred Mugumo was mythically veiled both with religio-political power and used by the elders for social and religio-political control of the group. They also strongly indicate that it was this religio-political symbiosis which was celebrated, ritualised and revitalised around the sacred Mugumo tree. Finally, following the research findings, the thesis shows that the sacred Mugumo prepared the ground for the evangelisation in the Gikuyu land and the continuation of political hegemony based on power-knowledge and control. This critical analysis will lead us on the one hand to demythologise the colonial and missionary discourses based on epistemological dynamics about Gikuyu cosmology and worship which were in fact meant to create an identity of the oppositional "Other", and on the other hand provide conceptual tools for a contextualised evangelisation and the study of local religions.
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Holmes, Andrew David. "To see or not to see : communication, cooperation and co-creation in the use of liturgical media art in Protestant worship." Thesis, Durham University, 2013. http://etheses.dur.ac.uk/9418/.
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This research examines why churches are using Liturgical Media Art (LMA), specifically the use of projected or displayed images and texts, in their worship. Using a long term ethnographic study of four congregations, two in the UK and two in the USA, the research reveals a number of important issues for those who lead and those who prepare the materials used in the worship. The results show that LMA is providing added educational, missional and liturgical value through increased participation of the congregation in the worship of the churches researched. The research also identifies that those who lead worship, those who are the congregants in the worship and those who prepare the materials used in worship all have a very different perspective on the use of LMA. In seeking to understand the different approaches this research posits the role of self-esteem as a way of interpreting the three viewpoints. In looking at one possible measure of the effectiveness of LMA, this research examines the role of ‘surprise’ in relation to memory as well as how memory traits may be encoded so as to provide a long term retrieval of the images and associated service content. Using the work of McLuhan as a lens to examine the way churches employ LMA, this research focuses on the learning that can be found when there are problems with the use of LMA and its presence in the worship becomes obvious. The research posits a number of outcomes for ministerial formation and ministry that would aid the use of LMA in worship today. The research draws on the work of many writers from various theological, sociological, philosophical disciplines to reflect theologically on the use of LMA in our worship today. It also briefly considers the new ‘environmental projection’ being adopted in some churches. This research confirms much of the anecdotal evidence offered for the use of LMA and adds to the current literature about the use of LMA
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Broughton, Ann Watson. "The concept of the spiritual in secondary school worship and its potential relationship with the function of art in contemporary society." Thesis, University of Exeter, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337757.
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Neves, Molly Robertson. "It Will Always Be My Tree: An A/r/tographic Study of Place and Identity in an Elementary School Classroom." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/4005.
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This a/r/tographic research study examines how explorations of identity and place influence a sense of self. An elementary art educator investigated the roles of artist, researcher and teacher by having students create artwork individually and as a class. These pieces reflected their understanding of place and how it contributed to a sense of self. Using the methodology of a/r/tography, this teacher separated her identities of artist, teacher and researcher, and explored the complications and implications of all three in relation to her place as an elementary art specialist and her identity in the classroom. Several important understandings were drawn from this research study, specifically the idea of using art making as a learning tool to uncover identities in relation to place in an elementary classroom, the complications of working with elementary students on a deeper level due to the amount of students and the schedule of an art specialist, and the difficulties of coping with the demands placed on an art specialist.
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Griebling, Susan Joan Ubbing. "Designs for Making a Tree: An Ethnographic Study of Young Children's Work in the Visual Arts." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1241802700.
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Krasauskienė, Laura. "Medis lietuvių vaizduojamajame mene nuo pagonybės iki šių dienų." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100906_184614-29538.
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Šiame bakalauro darbe išanalizuotas medžio fenomenas vaizduojamajame mene įvairiais laikotarpiais. Vaizduojamasis menas – tai šiuolaikinis pranešimas, įeinantis į medijos sąvoką. Medija apima fotografiją, kinematografiją, videografiją bei žiniasklaidą. Senovės lietuvių simboliai, ornamentai, raštai – visa tai taip pat yra vaizduojamasis menas. Šiai temai atskleisti buvo išnagrinėtas medžio vaizdavimas lietuvių liaudies mene ir mitologijoje. Taip pat buvo išnagrinėta medžio samprata bei funkcijos šiuolaikinių medijų perspektyvoje. Išanalizuotas medžio vaizdavimas ir svarba šiuolaikinių menininkų darbuose. Sukurtas animacinis filmukas „Medis”.This movie, presented as the final work for the Bachelor’s degree in visual arts, analyses the phenomenon of a tree. Visual art – is a contemporary message, embraced in the “woody” concept. Wood resides in various artistic means: photography, cinematography, videography as well as media. Therefore, ancient Lithuanian symbols, ornaments and scripts also are forms of visual art. This animation reveals “tree” representation in Lithuanian folk art and mythology. It depicts not only the meaning of a tree but also a function in the contemporary perspective of “woodyness”, analyzing it’s visualization and importance in the works of the modern artists. Stop motion animation “Tree”.
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Brunelle, Norman L. "Equipping the congregation to symbolic awareness and understanding of resident architecture and Christian symbols at Trinity United Methodist Church, Opelika, AL." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.
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Collins, Reiko Goto. "Ecology and environmental art in public place : talking tree : won't you take a minute and listen to the plight of nature?" Thesis, Robert Gordon University, 2012. http://hdl.handle.net/10059/788.
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My research started with a question: Is it possible to create change if we understand life is interdependent and interrelated with nature in our environment? I researched this question from the perspective of a practising artist in the field of environmental art in the context of ecology. I chose trees as the focal point of my enquiry as trees represent the largest living thing we encounter in our day-to-day activities. Empathy, particularly as defined in the work of Edith Stein, emerged as a significant critical construct which I used to examine the inter-dependence and interrelation of humans and trees as dynamic and diverse communities on earth. Empathy is related to metaphor, particularly Donald Schön’s idea of a generative metaphor and George Lakoff and Mark Johnson’s 'empathic projection'. These metaphorical conceptions can be relied upon to talk about trees without falling into anthropomorphising nature. The research was also informed by positions in the aesthetics of art. First Emily Brady positions human imagination as aesthetic mediation between human perceptions and scientific understanding of nature. Secondly Grant Kester’s dialogical aesthetics that are informed by conversation, inter-subjective exchange and empathic relationship. I then sought to understand how empathy had been embedded in practices of art over the last thirty years. Particular artworks are selected because they are internationally relevant examples of work that intended to create change in a specific public sphere: Time Landscape (1978) by Alan Sonfist, 7000 Oaks (1982) by Joseph Beuys and Serpentine Lattice (1993) by Helen Mayer Harrison and Newton Harrison. My interest in these works is focused on the potential for an empathic relationship with trees as living things that are embedded in specific environments. To meet this goal in my aesthetic practice, I have developed a discrete relational artwork in collaboration with a plant physiologist, a computer programmer and other artists to create the means to experience how trees ‘breathe’. This is accomplished by translating the plant physiological processes - photosynthesis and transpiration - to sound using, and extending, a custom software system. I also invented Plein Air, an easel that not only holds the plant's physiological system and the sound system but also becomes a small portable station to observe various trees in different places. In my conclusion I examined the implication of ecological and symbolic meanings that go beyond an artist’s authorship, which is created through this empathydriven enquiry and shared experience between people, place and trees in public places.
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Ovadis, Alyssa. "Abstraction and concretization of the Fruit of the Tree of Knowledge of Good and Evil as seen through biblical interpretation and art." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:8881/R/?func=dbin-jump-full&object_id=92337.
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Wells-Green, James Harold, and n/a. "Contrivance, artifice, and art: satire and parody in the novels of Patrick White." University of Canberra. Creative Communication, 2005. http://erl.canberra.edu.au./public/adt-AUC20060418.131055.
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This study arose out of what I saw as a gap in the criticism of Patrick White's
fiction in which satire and its related subversive forms are largely overlooked. It
consequently reads five of White's post-1948 novels from the standpoint of satire.
It discusses the history and various theories of satire to develop an analytic
framework appropriate to his satire and it conducts a comprehensive review of the
critical literature to account for the development of the dominant orthodox
religious approach to his fiction. It compares aspects of White's satire to aspects
of the satire produced by some of the notable exemplars of the English and
American traditions and it takes issue with a number of the readings produced by
the religious and other established approaches to White's fiction.
I initially establish White as a satirist by elaborating the social satire that
emerges incidentally in The Tree of Man and rather more episodically in Voss. I
investigate White's sources for Voss to shed light on the extent of his engagement
with history, on his commitment to historical accuracy, and on the extent to which
this is a serious high-minded historical work in which he seeks to teach us more
about our selves, particularly about our history and identity. The way White
expands his satire in Voss given that it is an eminently historical novel is
instructive in terms of his purposes. I illustrate White's burgeoning use of satire
by elaborating the extended and sometimes extravagant satire that he develops in
Riders in the Chariot, by investigating the turn inwards upon his own creative
activity that occurs when he experiments with a variant subversive form, satire by
parody, in The Eye of the Storm, and by examining his use of the devices, tropes,
and strategies of post-modem grotesque satire in The Twyborn Affair.
My reading of White's novels from the standpoint of satire enables me to
identify an important development within his oeuvre that involves a shift away
from the symbolic realism of The Aunt's Story (1948) and the two novels that
precede it to a mode of writing that is initially historical in The Tree of Man and
Voss but which becomes increasingly satirical as White expands his satire and
experiments with such related forms as burlesque, parody, parodic satire, and
grotesque satire in his subsequent novels. I thus chart a change in the nature of
his satire that reflects a dramatic movement away from the ontological concerns
of modernism to the epistemological concerns of post-modernism. Consequent
upon this, I pinpoint the changes in the philosophy that his satire bears as its
ultimate meaning.
I examine the links between the five novels and White's own period to
establish the socio-historical referentiality of his satire. I argue that because his
engagement with Australian history, society, and culture, is ongoing and
thorough, then these five novels together comprise a subjective history of the
period, serving to complement our knowledge in these areas. This study
demonstrates that White's writing, because of the ongoing development of his
satire, is never static but ever-changing. He is not simply or exclusively a
religious or otherwise metaphysical novelist, or a symbolist-allegorist, or a
psychological realist, or any other kind of generic writer. Finally, I demonstrate
that White exceeds the categories that his critics have tried to impose upon him.
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Radzevičiūtė, Arina. "Simbolių kalba Gyvybės medžio pasaulėvaizdyje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_154750-77248.
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Kūrybinio darbo ašis – tai sakralusis žmogaus tapatybės virsmas kūrybinio akto procesuose. Simbolių kalboje asmenybės evoliucijos raidą įkūnija Gyvybės Medžio samprata. Tarsi dieviškasis augalas, tarp dvasios ir materijos pasaulių, žmogus savo šaknimis stiebiasi į dangų, o šakomis leidžiasi žemyn. Būties tobulumo siekiamybė yra kopimas šiuo medžiu į centrą, sugrįžimas į pirmapradę, nedalomą ir amžiną Būtį. Daugiaprasmiai simboliai – tai suvokimo pakopos, vedančios tiesos ieškotoją dieviškojo pažinimo link. Gyvybės Medžio simbolika įprasmina Būties dualumo sampratą, atskleidžia žmogaus ir kosmoso santykius, jų tarpusavio vienovę ir saitus. Tai Dangiškosios Jungtuvės tarp dvasios ir materijos pasaulių, tarp vyriškojo ir moteriškojo pradų, tarp to, kas regima mirtingosiomis akimis, ir to, kas dar nepažinta.The axis of creative work - is sacred transformation of human identity in the process of creative act. Symbolism of the Tree of Life gives gives meaning to the concept of duality of existence, reveals relationships between human and space and the unity of these links.
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Tsai, Wei-Shu. ""A Blossoming Tree": A Study and Interpretive Guide to the Songs of Nan-Chang Chien on Selected Poems of Muren Hsi." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157550/.
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According to a recent United Nations report, China's population of 1.4 billion represents 19% of the world's entire population of 7.6 billion. As the distance between east and west contracts in business, so too do the arts. This dissertation focuses on six selected contemporary Chinese art songs composed by Nan-Chang Chien. By providing the references of musical facts, synopsis of the poems, word-for-word translation, IPA transcription, poetic translation, and interpretive and performance guides, singers and pianists will have an overall understanding and detailed directions for learning the Chinese language and Chinese art songs. This dissertation also provides the foundation and model for further exploration and research into Chinese art sing literature by scholars in the west.
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Small, Alwyn Johannes. "Die gebruik van rituele en simbole binne die erediens as draers van hoop." Diss., Pretoria : [S.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-06172005-104128/.
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Peralta, Andrés. "Eating from the Tree of Knowledge: The Impact of Visual Culture on the Perception and Construction of Ethnic, Sexual, and Gender Identity." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33193/.
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This study explores the way that visual culture and identity creates understanding about how the women in my family interact and teach each other. In the study issues of identity, liminality, border culture, are explored. The study examines how underrepresented groups, such as those represented by Latinas, can enter into and add to the discourses of art education because the women who participated have learned to maneuver through the world, passing what they have learned to one another, from one generation to the next. Furthermore, the study investigates ways in which visual cues offer a way for the women in my family to negotiate their identity. In the study the women see themselves in signs, magazines, television, dolls, clothing patterns, advertisements, and use these to find ways in which to negotiate the borderlands of the places in which they live. Although the education that occurred was informal, its importance is in creating a portal through which to self reflect on the cultural work of educating.
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Cucuzzella, Jean Moore. "The Destruction of the Imagery of Saint Thomas Becket." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278647/.
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This thesis analyzes the destruction of imagery dedicated to Saint Thomas Becket in order to investigate the nature of sixteenth-century iconoclasm in Reformation England. In doing so, it also considers the veneration of images during the late Middle Ages and the Renaissance. Research involved examining medieval and sixteenth-century historical studies concerning Becket's life and cult, anti-Becket sentiment prior to the sixteenth century, and the political circumstances in England that led to the destruction of shrines and imagery. This study provides insight into the ways in which religious images could carry multifaceted, ideological significance that represented diversified ideas for varying social strata--royal, ecclesiastical and lay.
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Sunghera, Gilbert. "The shifting location of transcendence in church architecture how Rudolf Schwarz can once again influence the modern debate of church design, as illustrated in the shifting language of Environment and art in Catholic worship (1978) and Built of living stones (2000) /." Theological Research Exchange Network (TREN), 2005. http://www.tren.com/search.cfm?p051-0110.
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Ip, Holly, and 葉浩莉. "Ashes of the after death: the tangible and intangible heritage of bamboo-paper ritual objects." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48344916.
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When it comes to ritual ceremonies like Qing Ming, Chong Yang, Yu Lan, one will see all kinds of fascinating ritual paper offerings, ranging from the traditional to fashionable-living necessities, even though the recipients are dead. The types of ritual paper offerings can be categorized into paper materials (joss paper), bamboo-paper objects (traditional crafts), and non-bamboo framed objects (contemporary crafts). Though the life of these ritual paper objects is very short, because they are burned soon after they are made, they are designed and crafted in a very unique way.
The topic of ritual paper objects is a very interesting one; however, it has hitherto received little scholarly attention from a heritage conservation perspective. It is found that a large body of literature mentions ritual paper objects in the context of the funeral ceremony. Building on the existing studies, this dissertation will demonstrate and recognize the cultural significance of the art and craft of bamboo-paper objects in Chinese culture with reference to the Convention for the Safeguarding of Intangible Cultural Heritage (2003), and thereby suggest ways for safeguarding this traditional craftsmanship.published_or_final_version
Conservation
Master
Master of Science in Conservation
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Zoumboulaki, Sophia. "L' Arbre de Jessé et la représentation des philosophes grecs et autres sages païens dans la peinture murale byzantine et post-byzantine." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010516.
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L'Arbre de Jessé est une image particulièrement complexe qui a connu plusieurs variantes iconographiques. Le type christologique complexe est une création byzantine du sujet. Ce type est constitué de plusieurs éléments iconographiques, comme des scènes prophétiques, des figures des ancêtres et des prophètes. A ce noyau iconographique s 'ajouteront à partir de la fin du XIIIe siècle et le début du XIVe siècle les figures des sages et philosophes païens. Dans la présente étude nous examinons l'iconographie de ce type et nous essayons de comprendre, à travers les images et les inscriptions écrites sur les rouleaux des sages païens, cette association afin de retracer ses étapes d'évolution principales dans la peinture murale byzantine et post-byzantineThe Tree of Jesse is a particularly complicated pictorial theme, which can be found in many different versions. The complex christological type is a purely Byzantine creation. Towards the end of 13th and early 14th century, figures of sages and philosophers of the Greek antiquity are added to this type, which already contains many iconographic elements such as prophetic and evangelical scene and independent figures of prophets and ancestors of Christ. In this study we examine the compositions and the texts of the inscriptions written on the pagan's scrolls this iconographic combination in order to trace its key evolutional stages in Byzantine and post-Byzantine mural painting
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Vašková, Ivana. "ART & ARCHITECTURE - Kulturní stavba v Jižním Centru v Brně (Janáčkovo kulturní centrum - Filharmonie Brno)." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2011. http://www.nusl.cz/ntk/nusl-215828.
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Otaviani, Márcia Cristina. "Chrestomathia: arte e ciência para Jeremy Bentham." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/13276.
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Jeremy Bentham (1748-1832) was an English philosopher who lived during the eighteenth and nineteenth centuries, a period when major events occurred in the world, not only on philosophical grounds, but also in economic and apart from being entitled as the "founder" utilitarian school, and suggest new ideas about moral issues and legislation, Bentham also brought new perspectives and solutions to issues such as education. In the book named Chrestomathia, Bentham exposes your beliefs about how teaching should be done in a standard school, the School Chrestomathia as its name. The main function of the school would be to promote greater quantity and better quality of knowledge and, consequently, wellness for all involved. It is in this work that he presents he believed to be the more correct way to categorize and divide the different areas of knowledge. In this work we aim to show how the Tree of Knowledge that he proposed is built, showing the intimate connection with teaching, and also trying to analyze the ideas behind their proposals, as well as the criticism that the author makes to the current way of classifying the human knowledge
Jeremy Bentham (1748-1832) foi um filósofo inglês que viveu durante os séculos XVIII e XIX, em um período em que grandes acontecimentos ocorreram no mundo, não só no campo filosófico, mas também no econômico, e além de ser apresentado como o fundador da escola Utilitarista, e de sugerir novas idéias para assuntos sobre moral e legislação, Bentham buscou, também, trazer soluções e novas perspectivas para assuntos como educação. No livro Chrestomathia, Bentham expõe suas convicções sobre como o ensino deveria ser feito em uma escola padrão, a Chrestomathia School, conforme sua denominação. A principal função da escola seria a de promover a maior quantidade e melhor qualidade de conhecimento e, em conseqüência, de bem-estar para todos os envolvidos. É nessa obra que Bentham apresenta o que acreditava ser a maneira mais correta de categorizar e dividir as diferentes áreas do saber. Nesse trabalho de Doutorado procuraremos mostrar a maneira como está construída a Árvore do conhecimento de Bentham, proposta numa íntima ligação com o ensino, buscando analisar as idéias por trás de suas propostas, bem como as críticas que o autor faz à maneira vigente de classificar o conhecimento humano
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Orlowski, Jessica Marie. "Ties That Bind." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/60.
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I am fascinated by the inner thoughts, the memories, and the cumulative experience that make us each a complex physiological puzzle. From birth, sociological building blocks are constructed forming emotional walls and unexpected doorways, boundaries and comfortable passageways through the architecture of our personalities. My thesis work, which is comprised of ceramic figures and interactive toys, offers playful memory triggers and evocative spaces in which viewers can deconstruct the building blocks of their social persona.
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Bernardi, Jeremy. "L’armement, la figure du combattant et le combat dans les peintures funéraires pariétales et vasculaires de Campanie et de Lucanie (fin Ve – début du IIIe siècle avant J.-C.)." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0173.
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Cette thèse porte sur les armes et les combattants représentés dans la peinture funéraire vasculaire et pariétale de Campanie et de Lucanie, dont la production commence dans la seconde partie du Ve siècle et s’éteint au début du IIIe siècle avant J.-C. Nous entendons montrer ici l’existence d’une idéologie élitaire particulière, dont les représentations permettent de discerner la trame et qui se situe à l’articulation des sphères religieuse (eschatologique), militaire et sociale. Cette idéologie militaire est construite autour de l’exploit militaire individuel, porté aux nues par la composition du « retour du guerrier », figurant un cavalier rapportant les dépouilles (spolia) de son ennemi vaincu, élément-clé permettant au combattant défunt d’accéder à l’immortalité. Les techniques de combat représentées dans ce contexte sont principalement celles du duel, qui constitue le mode d’affrontement le plus à même de permettre au vainqueur de se saisir des dépouilles de son adversaire. Les peintures étudiées révèlent ainsi une structure particulière de la bataille, qui relève d’un mode de guerre archaïque où les enjeux diffèrent de ceux de la guerre moderne de type clausewitzienne. L’examen des peintures permet également de confirmer les bouleversements militaires, sociaux et institutionnels connus par les textes qui ont lieu en Italie centrale et méridionale au cours du dernier tiers du IVe siècle, comme le rapprochement romano-campanien, la réforme d’Appius Claudius et les guerres samnitesThis thesis investigates the weapons and combatants depicted in the vascular and parietal funerary paintings of Campania and Lucania, whose production began in the second half of the fifth century and died out at the beginning of the third century BC. We intend to show that we can identify a particular military ideology visible through the paintings, which is situated at the confluence of the religious (eschatological), military and social spheres. The individual military exploit is celebrated through the composition called the "Return of the Warrior", depicting a horseman bringing back the spoils (spolia) of his defeated enemy, a key element allowing the deceased combatant to attain immortality. We will also see that the fighting techniques are focused on dueling. Single combat is the most likely to allow the victor to seize the spoils of his defeated opponent. The specifics of the battle as it is represented is characteristic of archaic warfare, which differs in substance from modern warfare. The paintings studied thus reveal a particular structure of the battle, characteristic of archaic warfare, which differs in substance from modern warfare. We will also be able to confirm the military, social and institutional upheavals known from ancient sources that took place in central and southern Italy during the last third of the fourth century, such as the Roman-Campanian rapprochement, the reform of Appius Claudius and the Samnite wars
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Andrei, Talia Johanna. "Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara." Thesis, 2016. https://doi.org/10.7916/D8VX0GPV.
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This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created—schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively). For each of the sites, we read the histories (political, religious, economic, social) and diaries (of pilgrims, monks and warlords), noting upheavals, power dynamics, and institutional relationships, and how these circumstances and relationships changed over the course of the 16th and early 17th centuries. We then apply this textual history to a formal analysis of each of the mandara devoted to the site, studying how the history of the site and the layout of the shrines and temples and the route to them are expressed in the pictorial language of the mandara, and we try to imagine how these paintings were employed and enlivened in etoki performances. Furthermore, by closely studying similarities and differences in choice and emphasis we show that the mandara, above their call for pilgrimage and donations, also encode the historical conditions at the time they were painted, capturing for example the tensions between religious groups and classes or the changing fortunes of a particular institution over time. This investigation thus aims to show how reading the artistic language of sankei mandara enlarges our understanding of a particular moment in Japan’s social and religious history, making these images valuable primary sources that enhance and supplement research in a wide range of fields.
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McComas, Magers Robyn, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "Interactions in the space of one tree." 2002. http://handle.uws.edu.au:8081/1959.7/25847.
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This exegesis forms part of a cycle in the author's ongoing journey into the space of one tree, Eucalyptus gummifera. Many previously unchartered zones of experience give rise to experiences which are perceived slowly, with an open mind, in order to communicate an assemblage of experiences, objects and data which have come together to represent a reading of elements of the landscape of the Sydney Basin, one place where Eucalyptus gummifera grows. Each element has a niche within a specific grid of interaction that takes place in this lived environment. The work surveys fields of physical objects and relationships, inspiring new readings and translations of the landscape of one's own discoveries. Here the world acquires perspective and significance which enables fresh understandings and the deeper accquisition of knowledge. Thus the interactions in this sequence of the author's journeys into the space of one tree reveal further elements of the spatial landscape of Eucalyptus gummifera.Master of Arts (Hons)(Contemporary Arts)
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Krol, Mira R. "The tree : its meaning and its function in art therapy." Thesis, 1989. http://spectrum.library.concordia.ca/5376/1/ML51383.pdf.
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Aslansefat, K., Sohag Kabir, Y. Gheraibia, and Y. Papadopoulos. "Dynamic Fault Tree Analysis: State-of-the-Art in Modeling, Analysis, and Tools." 2020. http://hdl.handle.net/10454/17976.
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YesSafety and reliability are two important aspects of dependability that are needed to be rigorously evaluated throughout the development life-cycle of a system. Over the years, several methodologies have been developed for the analysis of failure behavior of systems. Fault tree analysis (FTA) is one of the well-established and widely used methods for safety and reliability engineering of systems. Fault tree, in its classical static form, is inadequate for modeling dynamic interactions between components and is unable to include temporal and statistical dependencies in the model. Several attempts have been made to alleviate the aforementioned limitations of static fault trees (SFT). Dynamic fault trees (DFT) were introduced to enhance the modeling power of its static counterpart. In DFT, the expressiveness of fault tree was improved by introducing new dynamic gates. While the introduction of the dynamic gates helps to overcome many limitations of SFT and allows to analyze a wide range of complex systems, it brings some overhead with it. One such overhead is that the existing combinatorial approaches used for qualitative and quantitative analysis of SFTs are no longer applicable to DFTs. This leads to several successful attempts for developing new approaches for DFT analysis. The methodologies used so far for DFT analysis include, but not limited to, algebraic solution, Markov models, Petri Nets, Bayesian Networks, and Monte Carlo simulation. To illustrate the usefulness of modeling capability of DFTs, many benchmark studies have been performed in different industries. Moreover, software tools are developed to aid in the DFT analysis process. Firstly, in this chapter, we provided a brief description of the DFT methodology. Secondly, this chapter reviews a number of prominent DFT analysis techniques such as Markov chains, Petri Nets, Bayesian networks, algebraic approach; and provides insight into their working mechanism, applicability, strengths, and challenges. These reviewed techniques covered both qualitative and quantitative analysis of DFTs. Thirdly, we discussed the emerging trends in machine learning based approaches to DFT analysis. Fourthly, the research performed for sensitivity analysis in DFTs has been reviewed. Finally, we provided some potential future research directions for DFT-based safety and reliability analysis.
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Hsin-Hsun, Lin, and 林炘焄. "Study on Art Creation“Whispers of Old Tree—Redemption and Grace of Life”." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/n2r77f.
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碩士國立臺中教育大學
美術學系碩士在職專班
107
Art creation starts with one’s feeling of being touched by life. As the author has been through ups and downs in her life, she has profound experience and feelings toward life. The forms of old trees by streets always make her feel completely touched. With scenes recalling the author’s past memories, she reexamined and looked back at her life journey. She expressed her emotions with objects, and she reflected different statuses in her life by photography. The study probed into related theoretical foundation and the works of famous photographers as a basis for the author’s creation and discussion to develop her own photographic works of three themes. There are nine sets of works in the series of “Chaotic Darkness Period” which mainly presents the author’s life before believing in the Lord. There are seven sets of works in the series of “Forging in the Wilderness Period” in which the author experienced going through the mill upon being redeemed as a Christian. There are thirteen sets of works in the series of “Abundant Grace Period” which chiefly manifests how the author felt about God’s glory and grace. By the writing of the thesis and creation, the author has become familiar with the principles of visual design and photographic skills and acquired how to express her subjective feelings from the forms of “old trees.” Additionally, by showing her life journey, her works enabled viewers to feel the power of life. Moreover, the study let the author look back at and examine her belief and life again and led her to heal herself and express her feelings, appreciating the Lord for His redemption and grace through photography.
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Han, Tang Chi, and 湯其涵. "“Happy Tree Frogs： Hidden Truth Behind the Appearance” A Study of Tang Chi Han’s Art." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/2k664w.
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Mohammad, Y., Sohag Kabir, and W. Martin. "Uncertainty handling in fault tree based risk assessment: State of the art and future perspectives." 2019. http://hdl.handle.net/10454/17421.
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YesRisk assessment methods have been widely used in various industries, and they play a significant role in improving the safety performance of systems. However, the outcomes of risk assessment approaches are subject to uncertainty and ambiguity due to the complexity and variability of system behaviour, scarcity of quantitative data about different system parameters, and human involvement in the analysis, operation, and decision-making processes. The implications for improving system safety are slowly being recognised; however, research on uncertainty handling during both qualitative and quantitative risk assessment procedures is a growing field. This paper presents a review of the state of the art in this field, focusing on uncertainty handling in fault tree analysis (FTA) based risk assessment. Theoretical contributions, aleatory uncertainty, epistemic uncertainty, and integration of both epistemic and aleatory uncertainty handling in the scientific and technical literature are carefully reviewed. The emphasis is on highlighting how assessors can handle uncertainty based on the available evidence as an input to FTA.
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Yazdi, M., Sohag Kabir, and M. Walker. "Uncertainty handling in fault tree based risk assessment: State of the art and future perspectives." 2019. http://hdl.handle.net/10454/17432.
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YesRisk assessment methods have been widely used in various industries, and they play a significant role in improving the safety performance of systems. However, the outcomes of risk assessment approaches are subject to uncertainty and ambiguity due to the complexity and variability of system behaviour, scarcity of quantitative data about different system parameters, and human involvement in the analysis, operation, and decision-making processes. The implications for improving system safety are slowly being recognised; however, research on uncertainty handling during both qualitative and quantitative risk assessment procedures is a growing field. This paper presents a review of the state of the art in this field, focusing on uncertainty handling in fault tree analysis (FTA) based risk assessment. Theoretical contributions, aleatory uncertainty, epistemic uncertainty, and integration of both epistemic and aleatory uncertainty handling in the scientific and technical literature are carefully reviewed. The emphasis is on highlighting how assessors can handle uncertainty based on the available evidence as an input to FTA.
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Shih, Hung-Hua, and 施宏樺. "The Study and Construtcion of a Sound Tree Sidewalk by Using Wireless Sensor Networks in Public Art." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/48242584347312741060.
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碩士淡江大學
資訊工程學系碩士在職專班
98
The applications of Wireless Sensor Networks(WSNs) have been widely utilized, ex. home safety, medical control, environmental monitoring, etc. However, its application in art is so scarce. By adding the Wireless Sensor Networks(WSNs), we intend to make the public art space become a more vivid and exuberant environment further. By means of the wireless modules combined with environment sensors and music modules, the environmental sensing broadcast node is formed and established on a tree sidewalk; thus, a musical tree sidewalk is composed. Primary suggestions about the prototypes are gained from this study, in which various kinds of different innovation and developments can be attained, which can be applied to public art, for stimulating the development of Taiwan’s Cultural and Creative Industry, and for promoting the tourism industry. At present, it has been applied to “The Study and the Application of Wireless Sensor Networks in Humanities and Creative Leisure Space”, a project under the collaboration with Taipei National University of the Arts.
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CHEN, WEI-CHI, and 陳威志. "A Study of the Enterprise Franchise Chain Model -Taking Tomato Cocoa Tree Art in Chengdu As Example." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/w7mscv.
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碩士世新大學
企業管理研究所(含碩專班)
107
Under the circumstance of limited resources, large enterprises nowadays mostly adopt the strategy of chain to disperse market risks and try to attract more aspiring enterprises to cooperate and jointly expand the market competition scope and enhance brand market popularity. But Chain is not a panacea either. There are also many failure cases in the market. Therefore, the study tried to take Tomato Cocoa Tree Art as an example and through research design to explore the strategy planning and business model of enterprise franchise chain in mainland China early childhood education market. The results indicate that besides considering market competition conditions, market consumption demand and cooperation ability as the criteria for chain franchisers, enterprises need to adjust elasticity according to market differences of different operating positions on the basis of unified norms. Especially, it is suggested that enterprises should make clear the heterogeneity of development between franchising and chain franchising, and more through complementary resources and cooperative guidance. It is required to strengthen the cooperation and interaction between the two sides so as to enhance the overall market competitive advantage of the industry.
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HSU, KAI-JU, and 許凱茹. "The Ritual Use of Art Therapy in Comparison with Incense Burning and Worship in Taiwan: A Case Study of Taoyuan Ren Hai Temple." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/73yxzh.
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碩士臺北市立大學
藝術治療碩士學位學程
104
The study is to compare the ceremony of incense burning and worship in Taiwan with the ritual use in the art therapy to make the art therapy a more localized and suitable measure for Taiwanese. In Taiwan, folk beliefs account for higher proportion, so the researcher used field study and took Ren Hai Temple, Taoyuan as an example, through interviewing believers and temple volunteers to collect information of their psychological transformation process during the ceremony of incense burning and worship; through observing to explore the process of incense burning and worship as well as space planning of the temple. Then content analysis was adopted to sort out themes, which were similar or dissimilar to the ritual use in the art therapy for further comparison and discussion. 6 believers were interviewed, including 1 male and 5 female with age between 25-65 years old. Six items in results including people, matters, times, places, things and belief were compared, and the researcher found that ceremony of incense burning and worship and the ritual use of art therapy had the following similarities: the symbolic use of mediums, and in the dialogue with objects (statues, works), temple's staff and art therapist can play the role of facilitator in both individual and group, etc. In addition there were the following differences: the flexibility of ceremony structures, the diversity of mediums, space privacy and time openness. According to above comparison and sorting, the researcher found the open studio and the worship ceremony of temples had more resemblance, such as lower authority role of the art therapist, more open space and time, as well as attention to self-dialogue with the clients or works.
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Yu, Wenlan, and 游雯嵐. "Dwelling in a Fantasy Land ── Set to Taitung Art Museum’s Large camphor tree as the start of building dreams." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/j9d33x.
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碩士國立臺南藝術大學
建築藝術研究所
102
Curved corridor , large camphor tree, round type of patio upward vertically and foggy Dulan Mountain are the space field characteristics found in Taitung Art Museum. The large camphor tree is a seducer, also the central life of Fantasy Land. Fantasy Land, which multiplies out from the tree is a “gathering field” protected by it. People can rest and meditate in the atmosphere and scenario brought by invisible motion and to feel the sky, sun, clouds, wind and rain, etc. ... Fantasy land grants nature which is in presence in the field or artificial disturbance factor of mobility a brand new “body movements”. With the change in the flow of body movements, imagination and perception in body and mind began to be triggered. By walking around and imagination, people reawaked the senses and the presence of the body’s deep memory, and agglomerated people’s abstract but concrete childhood memories, and at the same time to create new common memory with Fantasy land, further to respond to the natural environment surrounding the central square of grass, even the distant sacred mountain ─ Mt. Dulan. The author tried to use the open and enclosed spaces, the transition and looming of space, the edge of a breakthrough and extension, incubate an intimate living field coexisted with large camphor tree, mankind and surrounding natural environment, with an attempt to continue weaving people’s common fantasy. Everyone can be a dream creator.
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Chen, Cheng-Tao, and 陳政道. "Living with the Forest : the Case of Two Art Projects “The Project for Making a Forest” and “Stone and Tree”." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/zux5h8.
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碩士國立臺北藝術大學
藝術跨域研究所
104
The participatory artistic projects, “The Project for Making a Forest” and “Stone and Tree”, come from the idea of questioning the relationship between human and nature. Studying ecology with scientific Ecology, deep ecology and Felix Guattari’s Three Ecology, I view different image of nature by these different conceptions. Moreover, the consequence of the previous question would receive various result by them. In Relational Aesthetic, Nicolas Bourriaud applied Guattari’s Chaosmosis to establish his theory and mentioned that the relation as an alternative artistic strategic for artists against object artwork. However, the main point of Guattari’s theory is relative subjectification but not subject. It explains the dynamic relationship as living together with different elements but not comparing with others. Therefore, referring the discussion of Guattari’s ecologic theory, I propose the idea of living-together relational aesthetic and utilize it to discuss my previous artistic projects. How to answer the question described above and image the relationship between human and nature by thinking the notion of living-together relational aesthetic? In my two artistic projects, the content of nature is different with the nature which I had learned before. In these two projects, every ecology elements connect others with the unique relationship and then participates experienced a unexpected nature. The nature presents and goes through our habit of critic thinking. In end, it show us the path of living together with nature.