Dissertationen: „20th century“

1

McMahon, Gary. „The femme fatale in 20th century British Century“. Thesis, Manchester Metropolitan University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.528129.

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There is no study of the scope of the British film femme fatale: her nature and heritage have not been documented. That's what this thesis does. How does British society and history modify this figure? Does she reflect the social fortunes of British women, or is she such a fantasy that there is no correlation? I reject the psychoanalytic model that customarily interprets this subject and this field, so I borrow some Jungian magical thinking and follow an interdisciplinary trail of associations to test her merit as an archetype. And since archetypes are supposed to be unchanging, I am on a collision course with a Cultural studies model that ordinarily expects social adaptation. She is conspicuously absent from the British new wave and realism, but this reflects an ideological disparity between a left-wing aesthetic and the sovereign, dictatorial demeanour of the femme fatale. There are transcending archetypal consistencies: they relate to her embodiment of man's ambivalence about Mother Nature, acting out inevitable death from a cellular to a macrocosmic scale, inherited from mythological predecessors in media such as literature, painting and music. Not a figure to be trifled with, then. It turns out she does change with the times, progressively more physical in sexuality, aggression and mobility. Only Britain's war genre was closed to her, as her specialism moved from melodrama and crime to spy and horror films. She goes where the money is (box office), but her motivation ranges from materialism to vengeance to power to sadism. She is now sometimes construed as an assertive feminist role-model, but this contrivance applies only to the degree that might apply to the first British woman Prime Minister. Her masculine adaptation now demonstrates the devaluing of femininity, in both genders, in a ruthless, martial, capitalist culture, so that the term I find objectionable in my review is now objectionably valid: 'Phallic Woman' enjoys equal opportunity as anti-hero. You watch a film, take notes as you go looking for contrasting patterns with representations of the subject in this and other genres and other media. Notes loosely structured by headings categorise some observations at a stroke: costume; mobility; animalistic motifs; recurring characteristics that gradually coalesce into clusters to suggest sub-types offemmes fatales; mythological or psychological imagery. in turn resolved into sub-headings; same with themes. The categories make comparisons cogent. Other notes are freeform, open to any intuited observation, inviting dissociation, insuring against boxing yourself into presumptions. Then you can on a curator of special collections or a censor or a manager sitting on an archive at Pinewood Studios, and with a view to access all areas try to get them as enthused about this research as you are ... which requires an appreciation of storytelling that this chapter affirms as a research framework. To be transparent about it the moment you look for a beginning, middle or en~ or present a paper or otherwise share your work, you're into a storytelling narrative. That standard candid snapshot of one strategy extends to news footage and period television in my case, and organises my eclectic reading of art, mythology~ religion history, literature, music ... trawling for associations on the understanding that some conclusions in the humanities are found objects, so tangentially do they appear in the researcher's perceptual field. That's how W,J.T. Mitchell came to the fore from a supervisor's recommendation in art theory, and a Playboy interview came to qualify a psychoanalytic disquisition on 'the monstrous female.' This unconventional lateral research aims to show how transcendental themes and figures bind an unlikely grouping. An international comparison of films would do that, but the scope would rob the attention to British cinema that this thesis establishes as a unique radius for studying the femme fatale. I court creative accidents with a non-quantitative strategy of making an empty folder of 'Case Studies.' Pragmatic - but premeditated in the weighting on highly active, symbolic portrayals. My thematic approach gathers pertinence with incidences: themes define themselves by recurrence to make the case for the persistence of vision that any Jungian would associate with an archetype of the collective unconscious if there is one, and that anyone attuned to Aby Warburg would expect from a primal figure in art.

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2

Grabovskiy, Aleksandr. „Reception of Marxism in 20th Century Russia“. Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/211.

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In my thesis I will study how the revolutionary philosophy of Karl Marx and Friedrich Engels was received and interpreted by early 20th century Russian intellectuals in an attempt to reconcile orthodoxy with the real conditions present in Russia. Through analysis of documents spanning several decades of debate, I will trace the evolution of this discussion to unlock the logic that led to philosophy put to action in the form of revolution. Finally, I will evaluate how this logic fits into the historic trajectory described by Marxism.

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3

Kyeyune, George William. „Art in Uganda in the 20th century“. Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408702.

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4

Minns, Christopher. „Immigrant assimilation in early 20th century America“. Thesis, University of Essex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341267.

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5

Kiverska, K. „Eccentrics and designers of the 20th century“. Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/14383.

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6

Curtis, Charles. „Babylon revisited apocalypticism in 20th century film /“. Diss., Connect to the thesis, 2004. http://hdl.handle.net/10066/625.

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7

Murdock, Mark Cammeron. „In the Company of Cheaters (16th-Century Aristocrats and 20th-Century Gangsters)“. BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1775.

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This document contains a meta-commentary on the article that I co-authored with Dr. Corry Cropper entitled Breaking the Duel's Rules: Brantôme, Mérimée, and Melville, that will be published in the next issue of Essays in French Literature and Culture, and an annotated bibliography of primary and secondary sources featuring summaries and important quotes dealing with duels, honor, honor codes, cheating, historical causality, chance, and sexuality. Also, several examples of film noir are cited with brief summaries and key events noted. The article we wrote studies two instances of cheating in duels: one found in Brantôme's Discours sur les duels and the other in Prosper Mérimée's Chronique du règne de Charles IX, and the traditional, as well as anti-causal, repercussions they had. Melville's Le Deuxième souffle is also analyzed with regards to the Gaullist Gu Minda and the end of the aristocratic codes of honor that those of his generation dearly respected but that were overcome by the commercial world of republican law and order.

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8

Wei, Linna, und Xichan Zhao. „Investment Study on Christie’ Chinese 20th Century Art“. Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13812.

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This thesis focuses on the blooming market of Chinese 20th Century Art. The study object is one category of Christie’s Auction house, Chinese 20th Century Art, before 2009. Eight artists’ auction results are selected to the dataset for the research. We find that the previous researches based on the collection of Western arts cannot explain the whole situation of Chinese 20th Century Art. It has speculative character as an invest option in global art market. And some factors would affect the price changing in the auction activities. The Capital Asset Pricing Model is applied to study the investment condition of Chinese 20th Century Art as a capital asset. The result we get from our dataset presents that Chinese 20th Century Art is with high risks and high returns, which is quite different from the previous studies based on Western Artworks. Regression analysis reveals that some factors do affect the rate of price changes. We find that young Chinese artists who born after 1950 achieve better sale results than older ones. Their artworks are always sold on high realized prices. In addition, the high price sale more often happened in the auction house of Hong Kong and the market of Chinese 20th Century Art is enlarging these years. The rate of price change is increasing by the sale year growing. The prices of the artworks are growing higher and higher recently. However, the findings above just explain parts of the price increasing. All the reasons for the price increasing are not clear in this thesis.

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9

Laing, Marie. „20th century women, redefining equality, justice and freedom“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0032/NQ46867.pdf.

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10

Cao, T. Y. „The intellectual history of 20th century field theories“. Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383778.

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11

Md, Sharif Harlina. „Mosques in island Southeast Asia, 15th-20th century“. Thesis, SOAS, University of London, 2013. http://eprints.soas.ac.uk/17839/.

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12

Sheerman, Lucy Ann. „Language writing and space in the 20th century“. Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624206.

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13

Bagley, Paul Michael. „Mysticism in 20th and 21st century violin music“. Thesis, University of Maryland, College Park, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643907.

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“Mysticism,” according to the Oxford dictionary, can be defined as “belief in or devotion to the spiritual apprehension of truths inaccessible to the intellect.” More generally, it applies to the aspects of spirituality and religion that can only be directly experienced, rather than described or learned. This dissertation examines how mysticism fits into the aesthetic, compositional, and musical philosophies of four prominent composers of the 20^th and 21^st centuries—Ernest Bloch, Olivier Messiaen, Sophia Gubaidulina, and John Zorn, with a cameo by the Jewish composer David Finko—and how their engagement with the concept of mysticism and the mystical experience can be seen in a selection of their works featuring the violin: Bloch's Baal Shem suite and Poème mystique; Finko's Lamentations of Jeremiah, Zorn's Kol Nidre, Goetia, All Hallow's Eve, and Amour fou; Gubaidulina's In tempus praesens; and Messiaen's Quartet for the End of Time. These works exemplify the mysticism shared by these composers, despite their different religious and cultural backgrounds, particularly their belief in the transcendental nature of music. This belief is expressed in their works through programmatic, melodic, harmonic, rhythmic, and formal elements, all of which display, to a greater or lesser degree, the influence of mystical philosophy and symbolism.

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14

Prodromidis, Prodromos-Ioannis. „Female time-use in late 20th century Britain“. Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324235.

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15

Tsurtsumia, Rusudan. „The Value Orientation of 20th-Century Georgian Music“. Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72008.

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16

Schrader, Villegas Julie. „The racial shadow in 20th century American literature /“. Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9525.

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17

Wetmore, Ashleigh. „Wandering warriors two 20th century icons of revolution /“. Jefferson City, Tenn. : Carson-Newman College, 2009. http://library.cn.edu/HonorsPDFs_2009/Wetmore_Ashleigh.pdf.

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18

Lo, Joanna. „The representation of interracial romance in the 20th century“. Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31585000.

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19

Fridén, Gunnar. „National theatre and the 20th century Irish dream play /“. Göteborg : Department of Languages and Literature, University of Gothenburg, 2010. http://gup.ub.gu.se/gup/record/index.xsql?pubid=121509.

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20

Baker, James Andrew. „Necessary evil: rhetorical violence in 20th century American literature“. Diss., Texas A&M University, 2003. http://hdl.handle.net/1969.1/5766.

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Wayne Booth and other rhetorical critics have developed methods for examining the rhetorical aspects of fiction. In this dissertation, I examine, specifically, the use of rhetorical violence in American fiction. It is my premise that authors use rhetorical violence and the irrationality of violence created mimetically to construct ironic metaphors that comment on the irrationality of the ideology behind the violence, pushing that ideology's maxims to its logical ends. The goal of rhetorical violence, therefore, is to create the conditions for a transfer of culpability so that the act becomes transitive-transferable-loosed from its moorings. Culpability, if indeed it reflects something intrinsically awry with an ideology, becomes the fault of the ideology-ÃÂÃÂit becomes the perpetrator of illogic and the condemnatory force associated with the act of violence gets transferred to it. Hence, if the author has created an effective metaphor, when he or she flips the violent scene'ÃÂÃÂs "ÃÂÃÂvalue," the audience is willing to follow along. The violence remains a great evil, but the culpability for the act is shifted to a representative of the ideology in question-as-victimizer; nonetheless, that transfer can only occur inasmuch as the audience is willing to force-fit the incongruities of the metaphor.I examine this rhetorical phenomenon in the works of three modern American writers: Flannery O'Connor, Toni Morrison, and Chuck Palahniuk. I seek to examine the ideologies questioned in these works, the contradictory beliefs expressed by the authors, and to explicate primary episodes in the works of fiction wherein rhetorical violence functions in a rhetorical fashion to promulgate the author's ideology by emotionally jarring the reader loose from commonly-held ideological assumptions in three specific appeals: first, to negate one socially-held ideology in order to promote a conflicting one (Wise Blood); second, to elicit compassion for victimized characters representing social ills (Beloved); third, to call into question the validity of social institutions and practices (Fight Club).

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21

Järnefelt, My. „Parental Separation and Educational Reproduction in 20th Century Sweden“. Thesis, Stockholms universitet, Sociologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-148778.

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This study examines the probabilities of attaining the highest level of education depending on parental education, and probabilities of reproducing parental education depending on parental separation. The theoretical starting point concerns social origin and social mobility. How parental separation affects educational reproduction among Swedish birth cohorts from 1905-1980 is investigated. Linear Probability Model (LPM) is used to analyze data from The Swedish Level of Living Survey (LNU). The results show that the probability of reproducing parental education is higher for those from intact families compared to those who experienced parental separation. However, the differences in probabilities between groups are small, and after controlling for a number of demographic traits, the correlation weakens. Furthermore, differences in the effect of parental separation for groups of different parental education is shown, although this is confounded by the educational expansion that took place in Sweden during the 20th century. The conclusion of this paper is that parental separation has a negative effect on the reproduction of parental education, and that the experience affects groups of different social origin differently.

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22

Goggin, Joyce. „The big deal, card games in 20th-century fiction“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/NQ35594.pdf.

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23

Friman, Eva. „No limits : the 20th century discourse of economic growth“. Doctoral thesis, Umeå universitet, Historiska studier, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-61315.

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The breakthrough of the concept of economic growth in economics marks a paradigm shift in thinking about the economy and its place in 'reality.' This thesis analyzes the 20th century discourse of economic growth, focusing its unlimited connotations. The thesis consists of four case studies, two introductory parts and a concluding discussion. Part II first gives an etymological outline of how the concept 'growth' transformed: from signifying natural processes, to become crucial within economics. The main focus is on the historiography around Adam Smith and the classical economists as 'fathers of growth.' It is argued that though Smith introduced new ideas on economic prosperity, it is anachronistic to view him as 'father of growth' in terms of modern economic discourse. The difference between conception of economic progress in classical economics - with a 'stationary state' - and the post-war concept of economic growth - without absolute limits - is interpreted by sketching four periods in economics regarding the issue of limits. Finally the label 'dismal,' often used for classical economics, is reinterpreted. The neoclassical 'Self and classical 'Other' is seen as a useful construction for legitimizing the growth discourse. Part III deals with economic thought at the turn of the century 1900. There were different ideas on what relative priority to address to individuals and communities as the basis of economy, as well as disagreements over how to organize economic policy to solve the 'social issue.' However, these differences did not result in different views on economic expansion per se. Neither to left- nor right-wing advocates was economic expansion an objective. Rather, economic expansion was a means to construct and manage a welfare state, and thus solve the social issue. If welfare could be distributed by expanding the total, there would be no sacrifices. The way economic growth was perceived in the early development discourse is studied in Part IV. The idea of unlimited growth is framed within a Western understanding of development and progress, and it is shown that hegemony on economic growth formed. Development economics made use of new and fashionable growth models, and thereby gained influence in policy. Development was reduced to economic development, which was reduced to economic growth. With a few modifications, this version of development and progress was to be implemented globally - 'no limits' became a master narrative. Part V analyzes the debate on economic growth in the 1960s and 70s. The environmental issue gave rise to thoughts on ecological limits, and thus had a key role in designating economic growth and growth ideology as a scapegoat within a longer tradition of civilization critique. As a response, professional economists put up a united defense for growth, and a polarized debate followed. Different basic assumptions underlying the polarized positions are analyzed, and the concept modernist economic ethos is introduced to explain the polarization at a fundamental level. In the dominant discourse, critics were called pessimists, and advocates were optimists. It is argued that these value-laden labels reveal the power of language and point at a trap of discourse. Economic growth and ecological sustainable development is analyzed in Part VI, and the focus is on crisis responsive economists. Two different conceptions of the economic system are found among these. The first is the economy as free-floating, which by technical inventions is minimally restricted by ecological boundaries. The second is the economy as a dependent subsystem restricted by fundamental ecological limits. Conception of the system is conclusive for understanding economic growth and its environmental effects. The free-floating approach allows the concept of 'sustainable growth,' while the subsystem approach makes it contradictory. Part VI includes a continued discussion on the power of language, and the dichotomy of pessimism and optimism. 'Optimism' is a eulogy, and works normatively. The pessimist label has functioned, at best, as a 'discourse trap;' at worst, as a means of exclusion. In Part VII results from the case studies are summarized, and general results with implications are presented. The post-war discourse on economic growth is connected to 'ecomodernism.' Three explanations for the introduction and strong appeal of the discourse of unlimited economic growth are introduced: the internal cause (economic theory), the external cause (context), and the professionalization cause (connecting the internal and external). The thesis ends in a discussion on growth, language and power in the context of modernism and progress.
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24

Bachorz, Stephanie Vanessa. „Dialectics of postcoloniality : Adorno and 20th-century Irish literature“. Thesis, Queen's University Belfast, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517204.

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25

Lo, Joanna, und 盧安綾. „The representation of interracial romance in the 20th century“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31585000.

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26

Lewis, Joanne Rebecca. „Women artists in Botswana in the late 20th century“. Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525246.

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Women have always played a large part in the visual arts throughout Africa. In Botswana at the present time this is illustrated most immediately by the woven baskets, seen everywhere, in galleries, shops and at roadside stalls, that have come to represent the country and its arts and crafts; and with the odd exception they are all made by women in the most rural areas. However, women in Botswana currently practice other arts, including house decoration and pottery, although, for a variety of reasons, these are less immediately obvious. In contrast to these practices, representing traditions inherited from the past, there are others of relatively recent inception. Since the 1980s Botswana has seen the emergence of a small number of women ‘Fine’ artists, some of whom are Botswana nationals while others are expatriates settled in the country. In contrast to arts made for immediate local use, or sold in roadside stalls, the work of these artists is exhibited in the few art galleries that now exist. During the same period, art education has also been gradually introduced into the school and university system in Botswana. Art galleries both private and public are another recent development, beginning with the National Museums and Monuments Art Gallery, which opened in 1978, and which began to facilitate local exhibitions of Botswana art, while also encouraging exhibitions of this material in other countries. In addition to local tradition and an emerging Fine Art practice, art education, museums and galleries, a series of workshops has also been developed. Some of these were set up by expatriates on a more-or-less permanent basis with the aim of training women in various art forms, while others are temporary and artist-led, giving selected groups of artists the chance to meet, work and exchange ideas. I begin this thesis, therefore, with a survey of all the arts inherited from the past, and currently practised by women in Botswana, and then, in a series of chapters I look at each of the developments, including art education, museums and galleries, and workshops; and their histories, their aims, and their achievements with particular regard to the overall development of the arts in Botswana. This thesis thereby provides a comprehensive study of all the arts practised by women in Botswana through the last thirty years.

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27

Jeffery, Celina. „Leon Underwood and primitivism in 20th century British art“. Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394120.

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28

Padua, Mary G. „Hybrid modernity : late 20th century landmark parks in China“. Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/23522.

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This research investigates new spatial forms that have emerged in China's urban landmark parks in secondary cities of the post -Mao era. These forms represent a new stage in China's history of landscape architecture. As design history and innovative design inquiry, a qualitative approach is employed and it draws from: - modernization theory: a framework for understanding transformation in post -Mao China - post -Mao China socio -cultural analysis: changing Chinese identity, nationalism and trends in the arts and architecture - design analysis and history of China's garden /park traditions and the larger context of the evolution of modern landscape architecture in China - analysis of international design trends in contemporary landscape architecture analysis of China's changing institutional context: education and development of the landscape architecture profession. In this research, I asked: has the fusion of international influences with the local Chinese design vocabulary in late 20th century China created a distinctive approach to public park design that is novel? If so, how has this taken place, and what does it mean for landscape architecture in China? Case studies provide a focused empirical setting to understand the new design paradigms and they create the foundation for a theory I call hybrid modernization. The study breaks new ground as the first documentation and analysis of the emergence of modern landscape architecture in twentieth century China. It creates a bridge between the literature in China and the west; and it contributes to closing the gap on the history of modern landscape architecture in China.

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29

Sleinkofer, Amanda M. „Antarctic Sea Ice Extent Reconstructions Throughout the 20th Century“. Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1620313247537371.

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30

Lauritsen, Ryan Gerald. „Environmental Factors Influencing 20th Century Diurnal Temperature Range Variations“. The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300723909.

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31

Cook, Jordan Ellington. „Space, Time, and the Self in 20th Century Literature“. University of Toledo / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1525456817163611.

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32

Clark, Nicholas Barry Clark. „Darwin's Daikaiju: Representations of Dinosaurs in 20th Century Cinema“. Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1530828784659758.

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33

Nelson, Elizabeth Ellison. „Mourning loss community and consolation in 20th century elegy /“. Connect to Electronic Thesis (CONTENTdm), 2008. http://worldcat.org/oclc/441821175/viewonline.

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34

Ben-Sira, Tallya. „Representation of motherhood in 19th and 20th century texts“. Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262312.

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35

Ahn, En Young. „Translatability and 20th century Korean art (1930s to 1990s)“. Phd thesis, Canberra, ACT : The Australian National University, 2003. http://hdl.handle.net/1885/9520.

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This PhD thesis is a critical inquiry into the (un) translatability of the 'difference' of an art produced in a non-'Western' context. My inquiries into the translatability of cultural differences do not deal with 'the incommensurability' of these differences, but explore the possibilities of their significant translations. This has been carried out in terms of case studies of four major Korean artists, their representative works, and the artistic developments of the 1930s-1990s in Korea. The artists in order are OH Chi Ho, PARK Seo Bo, SUH Se Ok and Kim Sooja. Each of Chapters 3 to 6 focuses on one of these artists whose work represents the most significant developments of colonial and 'postcolonial' Korean art, in reference to my theoretical arguments grounded in Chapters I and 2: the ideological and political discourses of cultural identity of a colonial and postcolonial nation's art; a marginalized nation's discourse of 'double translation' in cross-cultural transactions; and the postmodern and postcolonial concept of a 'peripheral' nation's hybridity. The term 'translation' in this thesis covers all kinds of translation: from translating the figurative to the literal, translating between different cultures and translating the past into the present. I will also use the term 'translate' as a metaphor for certain kinds of transference and dependence-linking it to Hegel's philosophy of self-consciousness and aspects of Lacan's psychoanalytic theory in order to illuminate and analyze problems involved in theorizing cultural identity and cross cultural transactions within the context of the current globalization in which geographical, economical, cultural and conceptual spaces are becoming increasingly hybrid. Throughout the thesis, Iuse the case studies of particular Korean artists as the basis of a critique of the nationalist Korean analysis of colonial and postcolonial Korean art, a postcolonial theory-inspired notion of the hybridity of an assumed peripheral culture/country (for example Korea), totalizing generalizations of 'Asianness' or 'Koreanness' of contemporary Korean art, and the Euro-centric concepts of 'cross cultural influence'. These studies focus on how certain Korean appropriations of 'otherness' of the 'exotic Western' imports within specific historical contexts have played an integral role in the ongoing process of conceptualizing and formulating forms of national and cultural identity.

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36

IZZO, Francesca Caterina. „20TH CENTURY ARTISTS' OIL PAINTS: A CHEMICAL-PHYSICAL SURVEY“. Doctoral thesis, CA' FOSCARI, 2011. http://hdl.handle.net/10278/33884.

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37

Izzo, Francesca Caterina <1982&gt. „20th century artists' oil paints : a chemical-physical survey“. Doctoral thesis, Università Ca' Foscari Venezia, 2011. http://hdl.handle.net/10579/1100.

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Il progetto sviluppato in questa tesi di Dottorato in Scienze chimiche riguarda lo studio di opere di arte moderna e contemporanea con particolare riferimento alle indagini sui materiali e tecnologie usate dagli artisti. Per tale ricerca sono state sviluppate delle tecniche di indagine innovative, specifiche in grado di rilevare non solamente la natura dei materiali utilizzati ma anche il loro comportamento nel tempo. Questa ricerca si è inserita in un progetto internazionale riguardante appunto la conservazione dell’arte contemporanea (20th Century Oil Paint Project, promosso dall'ICN The Netherlands Institute for Cultural Heritage, Amsterdam in collaborazione con il Courtauld Institute of Art, London, ilTate, London e il Getty Conservation Institute, Los Angeles). Il lavoro di tesi ha portato in particolare alla messa a punto di metodologie di studio dei oleosi attraverso l’impiego di tecniche cromatografiche (GC-MS, Py-GC-MS) che hanno consentito di individuare la presenza e il ruolo di alcuni additivi industriali (come gli stearati di alluminio e zinco e l'olio di ricino idrogenato) che fino ad ora non erano stati rilevati in maniera significativa,ma che rivestono un ruolo importante nella produzione industriale dei materiali dell’arte. La ricerca è stata condotta dapprima su campioni pittorici ad olio realizzati in laboratorio utilizzando leganti oleosi, pigmenti, siccativi e additivi impiegati nella moderna produzione industriale di colori ad olio. I film pittorici sono stati analizzati mediante l’uso di svariate tecniche analitiche, tra cui la spettrometria infrarosso in trasformata di Fourier (FT-IR), la spettrofotometria a raggi X (XRF), la Termogravimetria (TG), la Calorimetria Differenziale a Scansione (DSC) e la Gascromatografia abbinata alla Spettrometria di Massa (GC-MS). La parte sperimentale si è poi incentrata sullo studio di colori ad olio (a tubetto) provenienti da collezioni storiche di famose ditte produttrici di colori ad olio (come ad esempio Winsor&Newton, Talens, Old Holland, Maimeri). L’ultima parte della tesi è stata dedicata allo studio di significative opere moderne e contemporanee di artisti quali Lucio Fontana, Jasper Johns, Karel Appel, Willem de Kooning, Salvador Dalì, Henri Matisse, Isabel Lambert-Rawsthorne, Ethel Walker, etc. I risultati, oltre che a chiarire le situazioni sotto indagine, aprono una serie di nuove prospettive su settori finora poco approfonditi nella produzione artistica e tecnologica dell’arte moderna e contemporanea.
The research project developes in PhD research in Chemical Sciences deals with the study of modern and contemporary works of art, focusing on materials and production techniques employed by artists. In this study innovative and specific analytical techniques have been optimised: the survey has been successful not only in detecting the nature of artistic materials used in the 20th century, but also in studying their behaviours over time. Thid PhD researc has been part of an international project concerning the Conservation of Contemporary Art and has lead to the improvement of new methodologies to study proteinaceous and lipidic binding media by using chromatographic techniques (GC-MS, Py-GC-MS, HPLC). These methods have also allowed for the identification and the role of industrial additives (such as aluminium and zinc stearates and hydrogenated castor oil), which had been not fully studied previously. This part of the PhD research has been developed in the Netherlands, in the laboratories of the ICN (The Netherlands Institute for Cultural Heritage, Amsterdam), under the supervision of Dr. Klaas Jan van den Berg and Mr. Ing. Henk van Keulen. The research has been part of the international project called "20th Century Oil Paint Project", carried out at ICN in collaboration with Courtauld Institute of Art, London, Tate, London and Getty Conservation Institute, Los Angeles. The research was initially focused on the study of laboratory-reconstructed oil films, which were prepared with lipidic binders, additives, pigments and driers used by modern oil manufacturers. The films were studied by using several analytical techniques: FT-IR, XRF, TG-DSC and GC-MS. This study has lead to an improvement of analytical methodologies for the study of manufactured oil samples. Furthermore, the research focused on real samples taken from important modern paintings by Lucio Fontana, Jasper Johns, Karel Appel, Willem de Kooning, Salvador Dalì, Henri Matisse, Isabel Lambert-Rawsthorne, Ethel Walker, etc. The obtained results are a further step in the knowledge of materials used in artistic and technological production in Contemporary Art.

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Catterson, Amy Koehler. „Close Reading in Secondary Classrooms| A 21st-Century Update for a 20th-Century Practice“. Thesis, University of California, Berkeley, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10281978.

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Close reading is an enigmatic term with a simple definition: special attention to texts. Key shifts in the Common Core State Standards have led to a renewed interest about close reading instruction among researchers and practitioners of K-12 education. Close reading is particularly salient in secondary settings, where calls to raise text difficulty and increase literacy instruction in the disciplines have placed new demands on middle and high school teachers. But even though close reading is now widespread in secondary classrooms, there is very little research to date on close reading instruction. As such we still do not know how these practices will affect students’ reading skills and motivation.

In this dissertation, I offer three article-length contributions to the research base on secondary close reading instruction. First, I synthesize practice-based research on close reading instruction with the aim of identifying best practices for close reading in secondary classrooms. I then present two empirical articles that address gaps in the research literature on adolescent close reading instruction.

In chapter 1, previously published in Adolescent Literacies: A Handbook of Practice-Based Research, P. David Pearson and I offer a vision for a 21^st-century close reading pedagogy. This vision was influenced by a historical account of close reading’s place in adolescent classrooms over the past 75 years and a review of research on secondary close reading instruction. We argue that a 21^st-century close reading pedagogy must encompass considerations of the reader and his or her sociocultural contexts, accept digital and everyday texts as candidates for close readings, and include purposes for reading beyond knowledge building. In light of these goals, we suggest five principles of adolescent close reading instruction: background knowledge, authentic reading and writing, metadiscursive awareness, critical literacy, and dialogically organized discussion.

In chapter 2, I draw on the principles of close reading instruction outlined in chapter 1 to co-design tests of close reading instruction with a high school chemistry teacher. In this formative experiment, I tested the effect of background knowledge activation on amount and types of questions written about a scientific article; I also tested whether allowing students to choose texts to read about a scientific issue affected the amount of information written on that topic and their motivation to read. In a challenge to Common-Core-era recommendations that background knowledge should be held at bay when closely reading texts, I found that students who had their background knowledge activated with pre-reading activities prior to closely reading an article wrote more argument-generating questions than students who did not engage in pre-reading activities. I also argue that students who were able to choose a text to read closely about a scientific topic online recorded as much accurate information about that topic as students who were assigned a text to read by their teacher.

In chapter 3, I explore an understudied area of close reading instruction: students’ everyday digital close reading practices. This article is an ethnographic case study of students’ out-of-school digital close readings and their teachers’ approach to digital close reading instruction in the classroom. By comparing these two realms through the lens of cultural historical activity theory, I am able to surface tensions and synergies that may lead to recommendations for close reading instruction that leverages students’ existing funds of knowledge about digital literacies. Specifically, I found that when teachers designed digital close reading instruction in the service of promoting student-directed learning, it aligned well with students’ goals when they performed everyday close readings of digital texts at home.

Together, these three chapters suggest new directions for adolescent close reading instruction and research. In chapter 4, I synthesize across the three articles to highlight common themes and conclude with ideas for future research and lingering questions about the nature of close reading.

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Clarke, Jennifer. „The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture“. [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.

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Hocking, Rachel School of Music &amp Music Education UNSW. „Crafting connections: original music for the dance in Australia, 1960-2000“. Awarded by:University of New South Wales. School of Music and Music Education, 2006. http://handle.unsw.edu.au/1959.4/27289.

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This thesis documents the artistic connections made between composers and choreographers in Australia during the period 1960-2000. These 40 years saw a growth in the establishment of dance companies, resulting in many opportunities for composers to write original music for original dance works. The findings of original dance-music are tabulated in an extensive database giving details of 208 composers and over 550 music compositions written specifically for dance. Examples of choreographer and composer collaborative relationships and attitudes to each other???s artforms are discussed. Further examination of how these relationships have affected the sound of the music is detailed in four case studies. These concern the works The Display (music by Malcolm Williamson, choreography by Robert Helpmann, 1964), Poppy (music by Carl Vine, choreography by Graeme Murphy, 1978), Ochres (music by David Page, choreography by Stephen Page, 1994), and Fair Exchanges (music by Warren Burt and Ros Bandt, choreography by Shona Innes, 1989). These case studies look at dancemusic collaborated in different styles: ballet, modern dance, dance-theatre and experimental dance. This discussion is carried out through the analysis of the context of the collaborative relationships, and the temporal and interpretive aspects of the original dance-music. It is found through the investigation of collaborative relationships and discussion of these case studies, that similar methods of writing are used when composing music for theatrical dance, regardless of the type of dance. These methods show that composers have intentionally crafted scores that fulfil needs in the dance works and that are suited to choreographers??? intentions. Importantly, it is also found that involvement with dance has influenced some composers??? styles, aided musical innovation and added significantly to the corpus of Australian music.

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Willingham, Robert A. „Jews in Leipzig nationality and community in the 20th century“. Austin, Tex. Univ. of Texas, 2005. http://edocs.ub.uni-frankfurt.de/volltexte/2008/10643/.

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Willingham, Robert Allen. „Jews in Leipzig nationality and community in the 20th century /“. Thesis, Austin, Tex. : University of Texas Libraries, 2005. http://www.lib.utexas.edu/etd/d/2005/willinghamr73843/willinghamr73843.pdf#page=2.

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Kuo, Chung-Yen. „Determination and characterization of 20th century global sea level rise“. Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1133349892.

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Lemay, Nancy. „Eastern Ontario climate: Variability and trends during the 20th century“. Thesis, University of Ottawa (Canada), 2002. http://hdl.handle.net/10393/6304.

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The historical climate record is analyzed to determine trends and variability to develop possible scenarios for future climates. The study area is the Prescott-Russell United Counties and Stormont, Dundas and Glengarry United Counties of Eastern Ontario. Three data sets were used: the Canadian monthly climate data, the Historical Canadian Database Version 2: Monthly Rehabilitated Precipitation and Homogenized Temperature Data Sets and the Eastern Canada daily dataset. The ten warmest years of the past century occurred at the beginning and at the end of the century. However, the last decade (1990--1998) experienced four of the ten warmest years of the century, including the warmest year on record (1998), which was a full degree warmer than the second warmest (1953). Unlike the warmest year, the ten coldest years occurred in the early part of the century, between 1904--1943. The 1990s, although warm in the mean, had fewer extreme heat waves and fewer cold snaps. There is no clear relation between temperature and precipitation, suggesting that future climates may be wet or dry. From the mid 1960s to the present the growing season has started earlier, and since 1984 has been ending later than the long-term average. (Abstract shortened by UMI.)

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Kylin, Sebastian. „Brave New World : Blind Perception of the Early 20th Century“. Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-66354.

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Huxley’s Brave New World portrays a futuristic hyperbole of mankind’s future as a result of technological advancements. From a New Historical perspective, this essay examines how BNW satirizes contemporary society by satire where the audience is both a part of the problem and solution. Through the use of satire Huxley’s novel successfully portrays horrific examples of how human life in a not so distant future may find that the technology which revolutionized our lives actually enslaves us. Post-novel examples such as Hitler and his Nazi regime is a real life example of the type of totalitarian regime that is possible as a direct result of scientific progress in many fields. In this paper, however, posterity is excluded from the analysis. Instead this essay focuses on the contemporary society as depicted in early 20th century literature and how it reflects identifiable satirical elements in BNW. The analysis depicts how several discourses of contemporary industrialized Britain such as rationalism, socialism, industrialism, freedom, religion and political indifference are reflected in the novel. Ultimately, Huxley’s dystopian reflection of human future taunts us, the audience, by directly and indirectly illuminating the dangers of blindly accepting scientific advancements in the name of progress. The one, perhaps most relevant question the novel raises is – are we truly free when we are free to have the most wonderful time?

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Fowler, Stanley Keith. „Baptism as a sacrament in 20th-century British Baptist theology“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ35451.pdf.

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Kane, Mike. „A consideration of modes of dissonance in 20th-century music“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59180.pdf.

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Hansson, Karin. „The Autonomous and the Passive Progressive in 20th-Century Irish“. Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4263.

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Vassiliou, Maria. „Politics, public health and development : malaria in 20th century Greece“. Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424677.

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Cooper, Simon Eric. „Radical politics and literary form in 20th century American writing“. Thesis, University of Newcastle Upon Tyne, 2013. http://hdl.handle.net/10443/1855.

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This thesis focuses on the US literary left of the 1930s, tracing precursors in pre-WWI anarchism and the bohemian culture of 1920s Greenwich Village, and following the careers of key authors, beyond the Depression, into popular and mainstream culture post-WWII. The free verse of Michael Gold, the ‘proletarian’ novels and short fiction of Robert Cantwell, Tillie Olsen and Erskine Caldwell are read as instances of a kind of modernism from below. As such, they are held up for consideration alongside the more politically conservative modernisms of T. S. Eliot, Ezra Pound and D. H. Lawrence, as well as the work of two writers also on the left but more securely situated in the official canon: Ralph Ellison and George Oppen. The emphasis throughout is on form, understood as fluid and subject to self-conscious experimentation: the politics of the works considered are in this sense embodied in the transformation of pre-existing forms and structures. For this reason a multidisciplinary approach is adopted, with attention being paid to contemporaneous production (with some overlap of personnel) in music and visual culture. There are considerable difficulties involved in the attempt to harness the techniques of ‘high’ cultural thinking to the needs of an organised left with close links to the labour movement: problems of intention; matters of tone; issues of distribution. These difficulties are worked through in order to answer two fundamental questions. First, how did this historical project, riven by contradiction from the outset, manage to achieve even the limited success that it did? Second, why should a place be maintained in contemporary criticism for its recovery? Ultimately, an argument is made for an inclusive critical practice sensitive to the traces of exclusion and absence as figured in the non-representational, whilst at the same time resisting the temptations of obscurantism, superficiality or idealization.

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Dissertationen zum Thema „20th century“

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