Dissertationen zum Thema „Art criticism – history – 20th century“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Dissertationen für die Forschung zum Thema "Art criticism – history – 20th century" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Dissertationen für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
Rivest, Mélanie. „Nouveau théatre et nouveau roman : la quête d'un art perdu“. Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79975.
Der volle Inhalt der QuelleForward, David William. „The keyboard repertory as a reflector of art nouveau in music /“. Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.
Der volle Inhalt der QuelleBell, Pamela. „Art that never was : representations of the artist in twentieth-century Australian fiction“. Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
Der volle Inhalt der QuelleBrazil, Kevin. „The work of art in postwar fiction, 1945-2001“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:f8102451-09cf-4f92-8e6e-e7c1ced2641c.
Der volle Inhalt der QuelleFerris, Natalie. „'Ludic passage' : abstraction in post-war British literature, 1945-1980“. Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:5b3034e6-3a32-4684-b8a0-eb91cfc756c6.
Der volle Inhalt der QuelleMcKnight, Justine. „Redefining The Art Experience : From Static To Temporal Art Forms“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1450.
Der volle Inhalt der QuelleFox, Peter Holden. „Textual apparitions: power, language, and site in the work of Jenny Holzer“. Pomona College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,10.
Der volle Inhalt der QuelleByers, Mark. „After the new failure of nerve : Charles Olson and American modernism, 1946-1951“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:02478ea1-832a-4ecc-9c47-a264ba746c49.
Der volle Inhalt der QuelleClick, Sarah D. „Art Song by Turn-of-the-Century Female Composers“. Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278468/.
Der volle Inhalt der QuelleLin, Lidan. „The Rhetoric of Posthumanism in Four Twentieth-Century International Novels“. Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278990/.
Der volle Inhalt der QuelleCarrell, Scott Allen. „The French Sonatina of the Twentieth Century for Piano Solo: With Three Recitals of Works by Mussorgsky, Brahms, Bartok, Durilleux, and others“. Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935608/.
Der volle Inhalt der QuelleOng, Siew Yuan. „The piano prelude in the early twentieth century : genre and form“. University of Western Australia. School of Music, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0052.
Der volle Inhalt der QuelleBoyle, Amy L. „Marcel Broodthaers and Fred Wilson : contemporary strategies for institutional criticism“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98914.
Der volle Inhalt der QuelleKisawadkorn, Kriengsak. „American Grotesque from Nineteenth Century to Modernism: the Latter's Acceptance of the Exceptional“. Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278030/.
Der volle Inhalt der QuelleYang, Shu-mei. „Piano Music of Native Chinese Composers, with Particular Focus on the Piano Works Since 1950: a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, L.v. Beethoven, S. Prokofiev, F. Chopin, R. Schumann, J. Brahms, M. Ravel, and A. Skryabin“. Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc331819/.
Der volle Inhalt der QuelleLan, Ping-Ting. „New Resources in Twentieth-Century Piano Music and Richard Wilson's Eclogue (1974)“. Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2632/.
Der volle Inhalt der QuelleSchmid, William A. (William Albert). „An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature“. Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.
Der volle Inhalt der QuelleWilson, Rachelle. „Historical Memory and Ethics in Spanish Narrative“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062813/.
Der volle Inhalt der QuelleSamball, Michael L. (Michael Loran). „The Influence of Jazz on French Solo Trombone Repertory“. Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331843/.
Der volle Inhalt der QuelleWright, Charlotte M. „Plain and Ugly Janes: the Rise of the Ugly Woman in Contemporary American Fiction“. Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278032/.
Der volle Inhalt der QuelleDaussat, David M. „Birth of a Modern Concerto: An Explication of Musical Design and Intention in Journey: Concerto for Contrabass Tuba and Orchestra“. Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6116/.
Der volle Inhalt der QuelleSorrells, David J. „The Evolution of AIDS as Subject Matter in Select American Dramas“. Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2600/.
Der volle Inhalt der QuelleBain, Keith Norman. „Hyperartifical cinema and the art of cool“. Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.
Der volle Inhalt der QuelleENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.
Tvardovskas, Luana Saturnino 1983. „Dramatização dos corpos : arte contemporânea de mulheres no Brasil e na Argentina“. [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280015.
Der volle Inhalt der QuelleTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-22T21:58:15Z (GMT). No. of bitstreams: 1 Tvardovskas_LuanaSaturnino_D.pdf: 48560551 bytes, checksum: 319fe4c4f559ca8407db46edd5d574eb (MD5) Previous issue date: 2013
Resumo: Esta tese aborda a poética visual de artistas brasileiras e argentinas, cujas obras de arte empreendem um discurso critico a violência material e simbólica de gênero, por meio de imagens do corpo. São focalizadas, a partir de uma perspectiva feminista, as artistas contemporâneas brasileiras Ana Miguel, Rosana Paulino e Cristina Salgado, e também as argentinas Silvia Gai, Claudia Contreras e Nicola Costantino que se utiliza de transfigurações, dramatizações e manipulações sobre imagens corporais como manobras transgressivas e de resistência. O trabalho será norteado teórica e metodologicamente pelos estudos feministas e pelo "pensamento da diferença", sobretudo por Michel Foucault e Gilles Deleuze
Abstract: This research approaches the visual poetics of Brazilian and Argentinian artists whose artworks undertake a critical discourse of violence of gender (material and symbolic) through images of the body. From a feminist perspective, we focus on the Brazilian contemporary artists Ana Miguel, Rosana Paulino and Cristina Salgado and also the Argentinian Silvia Gai, Claudia Contreras and Nicola Costantino. Their work deals with transfigurations, dramatizations and manipulations on body's images as transgressive maneuvers of resistance. The methodology of this work will be guided by the Feminist studies and by the Difference theory, especially by Michel Foucault and Gilles Deleuze
Doutorado
Historia Cultural
Doutora em História
Smith, Jeffrey B. 1957. „Parallels in the Development of Electronic and Percussion Music and an Examination of Performance Problems in Lejaren Hiller's Machine Music for Piano, Percussion and Two-Channel Tape Recorder with Three Recitals of Selected Works of Rolnick, Kessner, Xenakis, Winsor, Niimi, and Others“. Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279115/.
Der volle Inhalt der QuelleBalic, Iva. „Always Painting the Future: Utopian Desire and the Women's Movement in Selected Works by United States Female Writers at the Turn of the Twentieth Century“. Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11060/.
Der volle Inhalt der QuelleRussell, Noel Ray. „Authorial Subversion of the First-Person Narrator in Twentieth-Century American Fiction“. Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc501035/.
Der volle Inhalt der QuelleHebda, Paul Thomas. „Spółka Nakładowa Młodych Kompozytorów Polskich (1905-1912) and the Myth of Young Poland in Music“. Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331366/.
Der volle Inhalt der QuelleRoza, Alexandra M. „Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott“. Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.
Der volle Inhalt der QuelleCoffelt, J. Roberta. „She "Too much of water hast": Drownings and Near-Drownings in Twentieth-Century American Literature by Women“. Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc3059/.
Der volle Inhalt der QuelleBouko, Catherine. „La réception spectatorielle et les formes postdramatiques du spectacle vivant“. Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210342.
Der volle Inhalt der QuelleHans-Thies Lehmann reprend la notion de "théâtre postdramatique" proposée par Richard Schechner pour qualifier ces formes métissées de spectacle vivant La thèse défendue est la suivante :le théâtre postdramatique trouve sa spécificité non seulement dans la transgression des codes dramatiques mais surtout dans des processus de réception spécifiques qu'il importe de définir, à l'aide d'outils notamment sémiotiques. Ces processus sont situés et construits par rapport à différents modèles interdisciplinaires.
Doctorat en Information et communication
info:eu-repo/semantics/nonPublished
Cheng, Chi-Suen. „Yves Daniel-Lesur and le canique des cantiques: nonconformism and humanism in a mid-twentieth-century choral work“. HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/310.
Der volle Inhalt der QuelleElston, Suzanne Poteet. „Garrison Keillor and American Literary Traditions“. Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500338/.
Der volle Inhalt der QuelleWard, Robert (Robert Clark). „Passion Settings of the 20th- and 21st- Centuries Focusing on Craig Hella Johnson's Considering Matthew Shepard“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862740/.
Der volle Inhalt der QuelleFan-Long, Grace (Chun Grace). „A Study of Idiomatic Piano Compositions During the Cultural Revolution in the People's Republic of China“. Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc278304/.
Der volle Inhalt der QuelleFouse, Kathryn. „Surrealism in the Piano Music of Representative Twentieth-Century American Composers: With Three Recitals of Selected Works of Ives, Cowell, Crumb, Cage, Antheil, and Others“. Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332492/.
Der volle Inhalt der QuelleBradley, Darin Colbert. „The Little Weird: Self and Consciousness in Contemporary, Small-press, Speculative Fiction“. Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3703/.
Der volle Inhalt der QuelleChmielewska, Katarzyna. „In Martha We Trust? The Cultural Significance of the Martha Stewart Phenomenon“. Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4267/.
Der volle Inhalt der QuelleLynch, Sylvio III. „Morality and Aspiration: Some Conditions of Norman Rockwell's Four Freedoms“. Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1577554501384163.
Der volle Inhalt der QuellePolizzi, Allessandria. „Working Whiteness: Performing And Transgressing Cultural Identity Through Work“. Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3121/.
Der volle Inhalt der QuelleErickson, Stacy M. „Animals-as-Trope in the Selected Fiction of Zora Neale Hurston, Alice Walker, and Toni Morrison“. Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2227/.
Der volle Inhalt der QuelleLee, Bethany Tyler. „The Museum of Coming Apart“. Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11000/.
Der volle Inhalt der QuelleHise, Patricia Jean Fielder. „Carson McCullers Beyond Southern Boundaries: Diagnosing "An American Malady"“. Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935671/.
Der volle Inhalt der QuelleMacDonald, Juliette. „Aspects of identity in the work of Douglas Strachan (1875-1950)“. Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/7357.
Der volle Inhalt der QuelleTonkin, Kati. „Marching into history : from the early novels of Joseph Roth to Radetzkymarsch and Die Kapuzinergruft“. University of Western Australia. European Languages and Studies Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0085.
Der volle Inhalt der QuelleDiGiallonardo, Richard L. (Richard Lee). „Musical Borrowing: Referential Treatment in American Popular Music“. Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.
Der volle Inhalt der QuelleMelo, Maria da Assunção Gil Correia de. „António Dacosta e o sentido de pertença na pintura. Motivações, resistências e inovações“. Doctoral thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/30073.
Der volle Inhalt der QuellePenazzi, Leonardo. „The fellow (novel) ; and Australian historical fiction, debating the perceived past (dissertation)“. University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0070.
Der volle Inhalt der QuelleAkhmadullin, Iskander. „The Russian trumpet sonata a study of selected representative sonatas for trumpet and piano with an historical overview of the Russian trumpet school, together with three recitals of selected works by Viviani, Chaynes, Böhme and others /“. Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4244/.
Der volle Inhalt der QuelleDuncan, Dawn E. (Dawn Elaine). „Language and Identity in Post-1800 Irish Drama“. Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.
Der volle Inhalt der Quelle