Dissertationen zum Thema „Art – political aspects – rome“
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Smith, Philip Jonathan. „Greek images of monarchy and their influence on Rome from Alexander to Augustus“. Thesis, University of Newcastle Upon Tyne, 1999. http://hdl.handle.net/10443/655.
Der volle Inhalt der QuelleYounge, James Gavin Forrest. „The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953“. Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/16370.
Der volle Inhalt der QuelleThis dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. The ensuing growth in prestige and influence of left-wing artist's organisations was countered by a campaign which included direct suppression of left-wing artists as well as a form of ideological control. This control was vested in what has been called the specifics of patronage and is reflected in the establishment of the Arts Council in Britain and the private art museums in the United States. Changes in the art market have meant that, together with dealers and critics, these institutions wielded almost complete economic control over artists. The prevailing ideology of liberal humanism, which glorified individualism and defined democracy as a middle ground between the left and the right, favoured the development of a seemingly apolitical abstract art style. Analysis of the demise of the Artists International Association and the American Artist's Congress supports the conclusion that the figurative tradition lost prestige as a result of the stigma attached to Socialist Realism and the idealised realism demanded by National Socialism in Germany. Account is also taken of the attempt by well-positioned and influential commentators to identify all forms of realism with totalitarianism. It is not surprising therefore, that it was commonly believed that to paint in an abstract modern style was to strike a blow against fascism. In the same way that realism was identified with the regimentation of Soviet society, the avant-gardes' abstract experiments came to symbolize democracy. Drawing on the texts of writers, critics, artists and theorists, this dissertation shows that the force of the identification of progressive realism with totalitarianism, prepared the way for acceptance of the idea that freedom of expression epitomised freedom in general. In this way, anti-Stalinism and the post-war liberal philosophy of individual freedom, coupled with a search for 'essences' and the 'universal', directed artists inward to the medium of art as relevant subject-matter. This dissertation argues that this identification was ideologically motivated in respect to the balance of social and political power in America.
Donelson, Sarah L. „Cries of agony : a work in photographic montage“. Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864904.
Der volle Inhalt der QuelleDepartment of Art
Koekemoer, Carmen. „Political grey : areas of ambiguity and contradiction“. Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013136.
Der volle Inhalt der QuellePurnomo, Setianingsih, University of Western Sydney, Faculty of Visual and Performing Arts und Department of Art History and Criticism. „The voice of muted people in modern Indonesian art“. THESIS_FVPA_XXX_Purnomo_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/661.
Der volle Inhalt der QuelleMaster of Arts (Hons)
Okoro, Iheanyi Emmanuel. „The Role of the U.S. Mass Media in the Political Socialization of Nigerian Immigrants in the United States“. Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279111/.
Der volle Inhalt der QuelleWise, Gianni Ian Media Arts College of Fine Arts UNSW. „Scenario House“. Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.
Der volle Inhalt der QuelleButtsworth, Sara. „Body count : the politics of representing the gendered body in combat in Australia and the United States“. University of Western Australia. History Discipline Group, 2003. http://theses.library.uwa.edu.au/adt-WU2004.0023.
Der volle Inhalt der QuelleLaw, Nga Wing. „Performing identities: performative practices in post-handover Hong Kong art & activism“. HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/518.
Der volle Inhalt der QuelleKroeter, Chloe Melinda. „Art and activism : promoting change through British periodical illustration, 1893-1914“. Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648341.
Der volle Inhalt der QuelleSteyn, Pieter Andrew. „The relationship between the concept 'art' and its institutionalisation during the period 1850-1871 in South Africa“. Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1005626.
Der volle Inhalt der QuelleLochner, Eben. „The democratisation of art CAP as an alternative art space in South Africa“. Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002205.
Der volle Inhalt der QuelleHignell-Tully, Daniel Alexander. „Scoring other : the social function of art-making“. Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/68361/.
Der volle Inhalt der QuelleShaw, Nancy (Nancy Alison) 1962. „Modern art, media pedagogy and cultural citizenship : the Museum of Modern Art's television project, 1952-1955“. Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36790.
Der volle Inhalt der QuellePolgovsky, Ezcurra Mara. „Touched bodies : corporeal ethics in Latin American art at the onset of the media age“. Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709431.
Der volle Inhalt der QuelleLeung, Wai-yee, und 梁偉怡. „The politics of perversion: the critical pedagogy of art in the age of advanced mechanical reproduction“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952720.
Der volle Inhalt der QuelleCooper, Craig. „The interrelationship and inscription in the experience of place in Hong Kong: art, bodies and architectures“. HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/749.
Der volle Inhalt der QuelleThériault, Mark J. „Art as propaganda in Vichy France, 1940-1944“. Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112592.
Der volle Inhalt der QuelleThe fine arts were purged of "foreign" influences, yet the German Arno Breker was invited to exhibit his sculptures in Paris. In the spirit of national redressement, traditional French art was promoted; however, Modern art, which Hitler condemned as cultural Bolshevism, continued to be produced. With reference to the words of Petain, Hitler, French artists and art critics, and a variety of artworks, this thesis shows how art was used to propagate the ideology of the Vichy regime.
Ganczak, Iwona. „At the crossroads of politics and culture : Polish dissident art of the 1980s“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83104.
Der volle Inhalt der QuelleLorenzi, Marie-Emilie. „Activisme rose : cultures et arts féministes queer en France“. Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010578/document.
Der volle Inhalt der QuelleThe term queer, when used in the French language, does not echo the same way as in English –then referring to the anglo-saxon context of emergence. The main purpose of this study is to question the phenomena of cultural transfers of queer feminism – which appeared in the mid 1980s in the United States as both a subculture and a movement of critical thinking and activism- into the French context. This cultural translation resulted in pink activism which unlike its anglo saxon original model developed a policy based on strong identity affirmation, on both a collective and individual level. The goal was to beat the French integration system deeply imbued with republican ideals, where the drifts of an abstract universalism had produced blindness towards inequalities therefore the central issue investigated in this research is how this pink activism arose in a French context of opposition to identity-based politics.Moreover, the phenomena of reception and appropriation of queer feminism into the French context must be understood beyond the sole linguistic translation – in all their dimensions, cultural political, theoritical, artistic, etc. This study aims to understand the special features of this activism, from its sometimes uneasy integration among feminist and LGBT movements to its specific applications in terms of cultural and artistic practices, thus questioning the phenomenon of aestheticism of resistance techniques
Oliveira, Mariana Bueno de. „"Tenho gatilhos e tambores" : impasses estéticos e engajamento político nas canções de Sérgio Ricardo (1958 - 1967) /“. Marília, 2018. http://hdl.handle.net/11449/157168.
Der volle Inhalt der QuelleBanca: Rodrigo Czajka
Banca: Thaís Regina Pavez
Resumo: A presente pesquisa aborda o engajamento da bossa nova por meio da análise da obra fonográfica de Sérgio Ricardo, momento de impasses de uma geração de artistas que se debateu no limiar do engajamento artístico, da politização das artes e da emergência de uma indústria cultural no Brasil. Temos no período um projeto desenvolvimentista que contempla grande parte da classe média no Brasil, dessa mesma classe média surge um grupo de artistas e intelectuais que estão completamente relacionados com uma dimensão ideológica e política produzida em décadas anteriores, anos 1920, 1930 e 1940 (como o modernismo cultural, literatura regional, etc.) e usam da arte para tematizar questões que a política não consegue resolver. Sérgio Ricardo é um desses artistas que se sensibilizam com essas questões da realidade nacional, dos problemas da desigualdade social, da pobreza, mas eles não são oriundos dessa classe pela qual se sensibilizam. Demonstraremos como a obra de Sérgio Ricardo reflete, concomitantemente, uma síntese e um desajuste fecundo no processo de politização da arte e do artista na passagem das décadas de 1950 e 1960, tendo como referência a questão do nacional-popular e o engajamento de intelectuais e artistas contra a ditadura militar instaurada em 1964. Sérgio Ricardo demonstra através de suas canções que é possível assumir a vertente da bossa nova Nacionalista sem abandonar as formalidades estéticas da bossa nova Intimista. Aproximou-se dos músicos populares, mas nunca negou... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research addresses the engagement of bossa nova by recording work of Sergio Ricardo's analysis, deadlocks time of a generation of artists who struggled on the threshold of artistic engagement, the politicization of the arts and the emergence of a cultural industry in Brazil. In this period we have a developmentalist project that contemplates a large part of the middle class in Brazil, from the same middle class a group of artists and intellectuals who are completely related to an ideological and political dimension produced in previous decades, 1920s, 1930s and 1940s cultural modernism, regional literature, etc.) and use art to thematize issues that politics can not solve. Sérgio Ricardo is one of those artists who are sensitive to these issues of the national reality, the problems of social inequality and poverty, but they do not come from this class by which they are sensitized. We will demonstrate how Sérgio Ricardo's work reflects, simultaneously, a fruitful synthesis and mismatch in the process of politicizing art and the artist in the 1950s and 1960s, with reference to the national-popular issue and the engagement of intellectuals and artists. Artists against the military dictatorship established in 1964. Sérgio Ricardo demonstrates through his songs that it is possible to take on the bossa nova Nacionalista side without abandoning the aesthetic formalities of bossa nova Intimista. He approached the popular musicians, but never denied the influence of jazz or class... (Complete abstract click electronic access below)
Mestre
Behrens, Monika Art College of Fine Arts UNSW. „Silent bang“. Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/42557.
Der volle Inhalt der QuelleDe, Kock-Wiesener Cornelia. „Teken, landskap en kennis : 'n ondersoek na die rol van teken in Suid-Afrikaanse kuns“. Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53613.
Der volle Inhalt der QuelleENGLISH ABSTRACT: This thesis explores the role played by drawings in the creation of knowledge. The study specifically focuses on drawings of the South African landscape and how it led to knowledge of our country. The Western perception of the concept of nature in relation to culture or civilisation is investigated by brief reference to a few periods in Western history. It is argued that man and nature was separated in Western thought by the establishment of rational thinking. This concept led to man's exploitation of nature to his own advantage. The division between man and nature was broadened in the quest for technological advancement. The first European travellers came to South Africa with a Western mind set, hoping for better economical conditions. The illustrated traveller's report reflects the verbal and visual capturing and exploitation of the South African landscape. It is further argued that European travellers tried to structure the landscape according to Western aesthetical traditions. Drawings appear to be picturesque but have radical political, economical and social implications. Colonial depictions created knowledge, but in fact symbolically legitimise the expansion of power. Until the middle of the twentieth century Western aesthetic traditions were applied to visual depictions of the South African landscape. During this period, artists were uncritical of the oppressive political system and in doing so gave their tacit consent. Ever since the middle of the twentieth century, several artists voiced their opinions against the unfair policy of the ruling political party. Visual images asked subtle questions and gave radical judgements; thus knowledge was created and a contribution made to the freedom of all South Africans. My drawings of South African landscapes are to be understood against this theoretical background. I use drawings to ask questions about the relationship between the visual image and the establishment of knowledge. I also refer to the relationship between the original and the copy, reality, the photo and the drawing. I conclude the following: drawings lead to the creation of knowledge and landscape depictions have implications of power. The solution to this problem lies, in the end, once more III drawings.My depictions of South African landscapes are given as an answer.
AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoek na die rol wat visuele beelde kan speel in die oordrag van idees. Daar word spesifiek gekyk na hoe tekeninge van die Suid-Afrikaanse landskap gelei het tot die totstandkoming van kennis oor ons land. Die Westerse verstaan van die begrip natuur in verhouding tot kultuur of beskawing word ondersoek deur kortliks te verwys na 'n paar periodes gedurende die Westerse geskiedenis. Daar word aangevoer dat Westerse denke die mens en die natuur van mekaar geskei het deur die instelling van rasionele denke. So het daar 'n geloof in menslike rede ontstaan. Dié beskouing het daartoe gelei dat die mens die natuur begin uitbuit het tot eie voordeel. Die kloof tussen mens en natuur het al hoe dieper geword in 'n strewe na tegnologiese vooruitgang. Die eerste Europese reisigers het vanuit 'n Westerse verwysingsraamwerk na Suid-Afrika gekom met die hoop op beter ekonomiese vooruitsigte. Die geïllustreerde reisverslag weerspieël die inneming en uitbuiting van die Suid-Afrikaanse landskap visueel en verbaal. Daar word aangevoer dat Europese reisigers die landskap deur middel van tekeninge, uitgevoer volgens Westerse estetiese tradisies, probeer struktureer het. Tekeninge kom skilderagtig voor, maar het radikale politiese, ekonomiese en sosiale implikasies. Koloniale tekeninge het kennis geskep en in werklikheid magsuitbreiding simbolies gelegitimeer. Westerse estetiese tradisies is tot die middel van die twintigste eeu toegepas op visuele uitbeeldings van die Suid-Afrikaanse landskap. Gedurende dié tydperk het kunstenaars die onderdrukkende, heersende politieke stelsel in werklikheid ondersteun deur totaalonkrities daarteenoor te staan. Teen die middel van die twintigste eeu het verskillende kunstenaars in opstand gekom teen die onregverdige beleid van die regerende party. Visuele beelde is gebruik om subtiele vrae te stel sowel as radikale uitsprake te lewer en het so kennis geskep en bygedra tot die bevryding van alle Suid- Afrikaners. My tekeninge van Suid-Afrikaanse landskappe moet teen dié teoretiese agtergrond gelees word. Ek gebruik teken om vrae steloor die verhouding tussen die visuele beeld en kennis wat so tot stand kom. Daar word verwys na die verhouding tussen oorspronklike en kopie, werklikheid, foto en tekening. Die gevolgtrekking is dat tekeninge kan lei tot die totstandkoming van kennis en dat uitbeeldings van landskappe magsimplikasies kan hê. Die oplossing vir hierdie probleem lê uiteindelik weer in tekeninge. My uitbeeldings van Suid-Afrikaanse landskappe word as antwoord gebied.
RIZZI, Elena Maria Rita. „Modern art and the making of a French republican imaginary, 1919-1940“. Doctoral thesis, European University Institute, 2021. https://hdl.handle.net/1814/70295.
Der volle Inhalt der QuelleExamining Board: Professor Laura Lee Downs (European University Institute); Professor Ann Thomson (European University Institute); Professor Kevin Passmore (Cardiff University); Professor Béatrice Joyeux-Prunel (Université de Genève)
Winner of the 2022 James Kaye Memorial Prize for the Best Doctoral Thesis in History and Visuality.
Recent scholarship on the interwar French art milieu has overcome, on the one hand, ethnonationalism as the main interpretive framework for examining the relationship between art and politics and, on the other, a celebratory narrative that made Paris the liberal and democratic interwar art centre. Building on these recent studies, my thesis aims to reassess the nexus between art and politics in interwar France. I do this by asking what kind of Republican imaginaries were created in the modern art promoted by public institutions. In order to answer this question, the thesis builds on a second, recent body of scholarship that re-examines French politics and Republican political culture through new lenses. This work highlights the polysemic and plastic nature of Republican ideology, the variety of stances contained within Republicanism, and hence the existence of different and competing understandings of the French Republic. By delving into four case studies, namely the Musée des écoles étrangères, the Musée de Grenoble, the tapestries realised at the Manufacture des Gobelins and the mural art projects financed by the state in the late 1930s, the thesis demonstrates that the modern art promoted by public institutions engendered political imaginaries that testify to the simultaneous existence of conservative, liberal, civic or communitarian, that is, local Republics. While making modern art the bearer of competing views on the French Republic in the 1920s and 1930s, the imaginaries that were created by modern art institutions and practices mythologised Republican universalism. Yet, these imaginaries revealed all the ambiguity contained in France’s universalistic project. At a time marked by the never-ending bellicosity that ensued from the First World War and the political and economic crises of the 1930s, the imaginaries created by modern art thus gave birth to a Republican visual politics. As the thesis argues, this Republican visual politics had a sociopolitical meaning. Modern art, especially figurative art, created imaginaries that could confront, above all, the interwar crisis of the Republic and its universalism, and the crisis in social and political representations that stemmed from the political turmoil and instability of the interwar years.
Purnomo, Setianingsih. „The voice of muted people in modern Indonesian art“. Thesis, View thesis, 1995. http://handle.uws.edu.au:8081/1959.7/661.
Der volle Inhalt der QuelleВасюріна, Алла Олександрівна, Алла Александровна Васюрина und Alla Oleksandrivna Vasiurina. „Політична складова судової риторики Давнього Риму“. Thesis, Українська академія банківської справи Національного банку України, 2014. http://essuir.sumdu.edu.ua/handle/123456789/53038.
Der volle Inhalt der QuelleThe process of judicial rhetoric in Early Roman period is analyzed. Attention is paid to the issue of improving the rhetorical skill in the writings of the leading figures of Roman culture. Since this is a judicial rhetoric, the political aspect of the problem investigated by analyzing mainly the works of rhetoricians, not politicians.
English, Ashley E. „Megachurches and Economic Development: A Theoretical Understanding of Church Involvement at the Local Level“. Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc848127/.
Der volle Inhalt der QuelleKaden, Martha J. „Herinnering, geskiedenis, identiteit : 'n ondersoek na beeld en teks in mito-poesis“. Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/8546.
Der volle Inhalt der Quelle214 Leaves printed on single pages, preliminary pages i- xvi and numbered pages 1-191. Includes bibliography and illustrations.
Digitized at 600 dpi grayscale to pdf format (OCR), using a Bizhub 250 Konica Minolta Scanner. Digitized by Ivan Jacobs on request of Niel Hendrickz, 15 April 2011.
ENGLISH ABSTRACT: This investigation is informed by the assumption that language, as representation and as image, is positioned in a metaphorical relationship to reality. Language, as a structure of representation, is the way in which we represent reality to ourselves and to others and recreate the past, as well as the way in which we invest our lives with meaning, significance and experience. Language includes visual and verbal representation, and this investigation shows how image and text create a variety of multiple meanings through playful and interactive reciprocation. Following from the assumption that language comprises temporal and spatial qualities, it is also the terrain that enables us to know and understand reality, ourselves, and others. This emphasizes the material nature of language, which is also connected with social and cultural practices and, as such, involves reciprocation and interaction between divergences. Language is therefore a mode of action that makes the bridging of divisions possible. Language is proposed as a medium through which the monolithic hegemony of the apartheid past may be confronted within a multicultural South Africa. The aim of representing this past in my work is not to recall it as it was or to discover etemal, inheritable qualities, but rather to bring about re-demption (healing) through re-presentation. Re-demption and re-presentation is a textual practice that involves a re-script of the past. With the understanding that history and culture are regarded as text, re-writing the past does not involve representation as mimesis, but as production. This investigation recognizes the role of the subconscious as the other or the alterity in all language constructs that makes it possible to circumvent the logic of binary oppositions; entertain alternatives simultaneously; erase boundaries; share spaces, and discover the other in the self. This unconscious language of the other, as a strange doubling and interplay between near and far, gives rise to poies/s. The creation of multi-dimensional spaces that draw the poetical and the everyday into an imaginative and directed conceptual interplay as well as provoke dialogue between differences and diversities, engenders a desire for the complexity of the other. The interplay and recurrent movement across divisions and between paradoxes create a new and changed interspace, characterized by difference, plurality, and contradiction. Intertextual spaces allow relationships between differences and exist precisely as a result of dialogicity between diversities. In this way it is possible to establish, by virtue of difference, a mutual, interdependent relationship with the other. Metaphorical language requires an allegorical reading that places divergences in relation to one another, thereby causing a mythic animation of signification that moves from one level to another. Mytho-poeisis, as an allegorical structure, is proposed as a model by means of which symbolic transformation and redemption of the personal and collective psyche may occur. Poetic re-imagining as re-presentation impels change and transformation and points to other possible forms of social and ethical experiences. This impulse, to reconcile the social and the aesthetic, or the cultural with symbolic form, is based on the principle of reconciliation between art and life.
AFRIKAANSE OPSOMMING: Hierdie ondersoek handhaaf die veronderstelling dat taal in 'n metaforiese verhouding tot die werklikheid staan as voorstelling en as beeld. Taal, as 'n struktuur van voorstelling, is die wyse waarop ons die werklikheid aan onsself en ander voorstel en die verlede herskep, asook die wyse waarop ons sin, betekenis en ervaring aan ons lewens verskaf. Taal sluit visuele en verbale voorstellings in en hierdie ondersoek toon op watter wyse beeld en teks in speelse en interaktiewe wisselwerking 'n verskeidenheid meersinnige betekenisse skep. Uitgaande van die veronderstelling dat taal temporele en ruimtelike kwaliteite betrek, is dit ook die terrein wat ons in staat stel om die werklikheid, onsself en ander te ken en verstaan. Dit beklemtoon die materiele aard van taal, wat ook met sosiale en kulturele praktyke verbind is en sodanig wisselwerking en interaksie tussen uiteenlopendhede betrek. Taal is dus 'n modus van doen, wat oorbrugging van skeidings moontlik maak. Taal word as 'n medium voorgestel waardeur die monolitiese hegemonie van die apartheidsverlede binne 'n multikulturele Suid-Afrika gekonfronteer word. Voorstelling van hierdie verlede in my werk is nie met die doel om dit te herroep soos dit was, of ewige, erfbare eienskappe te ontdek nie, maar eerder om herstel deur her-voorstelling te bewerkstellig. Her-stel en her-voorstelling is 'n tekstuele praktyk wat 'n re-skripsie van die verlede behels. Met begrip dat geskiedenis en kultuur as teks beskou word, behels die her-skryf van die verlede nie voorstelling as mimesis nie, maar as produksie. Hierdie ondersoek erken die rol van die onderbewussyn as die ander of die alteriteit (alterity) in alle taalvoorstellings wat dit moontlik maak om die logika van binere oposisies te omseil; alternatiewe gelyktydig in ag te neem; grense uit te wis, ruimtes te deel en die ander in die self te ontdek. Hierdie onbewuste taal van die ander, as 'n vreemde verdubbeling en spel tussen naby en ver, gee aanleiding tot poesis (poiesis). Die skep van multidimensionele ruimtes wat die poetiese en die alledaagse in 'n verbeeldingryke en gerigte konseptuele wisselspel betrek, asook dialoog tussen verskille en diversiteite bewerkstellig, skep 'n aandrang vir die kompleksiteit van die ander. Die interspel en ewigdurende beweging oor skeidings en tussen paradokse skep 'n nuwe en veranderde interruimte, wat gekenmerk word deur verskil, pluraliteit en kontradiksie. Intertekstuele ruimtes laat verskilsverhoudings toe en bestaan juis as gevolg van dialogisiteit tussen diversiteite. Op hierdie wyse is dit moontlik om op grond van verskil 'n wedersydse en interafhanklike verhouding met die ander aan te knoop. Metaforiese taalgebruik verg 'n allegoriese lees wat uiteenlopendhede in verhouding tot mekaar plaas sodat dit 'n mitiese animasie van betekening bewerkstellig wat vanaf een vlak na 'n ander vlak beweeg. Mito-poesis, as 'n allegoriese struktuur, word voorgestel as model waarvolgens simboliese transformasie en herstel van die persoonlike en kollektiewe psige kan geskied. Poetiese her-verbeelding as her-voorstelling motiveer verandering en transformasie en dui op ander moontlike vorms van sosiale en etiese ervarings. Hierdie impuls, om die sosiale en die estetiese, of om die kulturele met simboliese vorm te vereenselwig, berus op die beginsel van versoening tussen kuns en lewe.
Dickenson, Rachelle. „The stories told : indigenous art collections, museums, and national identities“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.
Der volle Inhalt der QuelleVan, Robbroeck Lize. „Writing white on black : modernism as discursive paradigm in South African writing on modern Black art“. Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.
Der volle Inhalt der QuellePycroft, Hayley. „Beyond Afrocentricism and Orientalism contemporary representations of transnational identities in the works of Nontsikelelo "Lolo" Veleko and Tracy Payne“. Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002216.
Der volle Inhalt der QuelleFournier, Anik Micheline. „Building nation and self through the other : two exhibitions of Chinese painting in Paris, 19331977“. Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82704.
Der volle Inhalt der QuelleKam, Ting, und 甘婷. „An analysis of policy agenda setting: a studyof government policy on creative industries in Hong Kong“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46780671.
Der volle Inhalt der QuelleHojdyssek, Gunter Art College of Fine Arts UNSW. „From laughing at the world to living in the world“. Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43091.
Der volle Inhalt der QuelleBelluigi, Dina Zoe. „Excavating the 'critique' : an investigation into disjunctions between the espoused and the practiced within a Fine Art studio practice curriculum“. Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1003413.
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 QuelleFonseca, Felipe Schmidt 1978. „Redelabs : laboratórios experimentais em rede“. [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268901.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta dissertação relata as descobertas, hipóteses e conclusões de pesquisa a respeito de um tipo de produção colaborativa que aproxima arte, ciência, ativismo, inovação, design, entre outras áreas. Concentra-se no surgimento, em anos recentes, dos assim chamados laboratórios experimentais - espaços articulados em rede nos quais tal produção toma corpo. São abordadas sob tal perspectiva denominações tais como labs de mídia, hackerspaces, Fablabs, entre outras. A pesquisa analisa alguns desses modelos sobre o pano de fundo do imaginário tecnoutópico, que afirma as tecnologias de informação como instrumentos de combate à burocratização e à alienação da sociedade. Com o objetivo de questionar a usual associação dos labs experimentais em termos gerais ao desenvolvimento da cibernética e em particular ao histórico do estadunidense MIT Media Lab, a pesquisa explora outros fios narrativos para os múltiplos campos que influenciam a formação dos labs. Debruça-se ainda sobre o diálogo entre, de um lado, o contexto contemporâneo dos labs em diferentes partes do mundo, e de outro a contribuição da ideia de uma cultura digital particularmente brasileira - que ao longo da última década proporcionou a construção de um discurso que aproximava software livre, diversidade cultural e políticas públicas de inclusão social. São debatidos em particular dois eixos da cultura digital brasileira: o compensatório, que buscaria corrigir distorções históricas incluindo populações na chamada era da informação; e o exploratório, que buscaria criticar e influenciar os caminhos futuros da articulação entre tecnologia e sociedade. A dissertação relata ainda pesquisa de campo desenvolvida na Finlândia, onde foram vivenciados a preparação de um festival internacional de arte e tecnologia, visitas a diferentes espaços que se situam no campo dos labs experimentais, e o contato pessoal com integrantes de grupos e coletivos que atuam na fronteira entre cultura e tecnologia. Tais experiências contribuíram para a compreensão de elementos importantes dos labs experimentais, principalmente o aspecto da não conformação às expectativas de uma sociedade cada vez mais regida pela transformação de toda expressão cultural em valor econômico. Esse entendimento é aprofundado ao fim da dissertação na imagem do lab experimental como espaço em branco que, ao mesmo tempo em que funciona como interface entre redes digitais e as dinâmicas particulares dos locais onde se encontram, também situam-se como instâncias de resistência e reinvenção frente ao capitalismo informacional de matriz cibernética
Abstract: This dissertation reports on discoveries, hypotheses and conclusions of research on a kind of collaborative production that connects arts, science, activism, innovation, design, among other areas. It focuses on the appearing, in recent years, of the so-called experimental labs ¿ network articulated spaces in which such a production comes into being. Under that perspective are approached denominations such as media labs, hackerspaces, Fablabs, among others. The research analyses some of these models against the background of techno-utopian imaginary, which asserts information technologies as tools to fight against burocracy and allienation of society. With the goal of questioning the usual association of experimental labs in general to the development of cybernetics and particularly to the history of MIT Media Lab in the USA, the research explores other narrative threads for the multiple fields that influence the formation of labs. Attention is paid to the dialogue between, on one side, the contemporary context of labs in different parts of the wirld, and on the other the contribution of the idea of a particularly brazilian digital culture ¿ which over the last decade offered the possibility of building a discourse that draws closer free (open) software, cultural diversity and public policies for social inclusion. Two particular axes of the brazilian digital culture are discussed: the compensatory, which seeks to correct historical distortions by including populations in the so-called information age; and the exploratory, that seeks to criticize and influence future paths of the articulation of technology and society. The dissertation reports as weel on field research undertaken in Finland, where were experimented the preparation of an international festival on arts and technology, visits to different spaces situated on the field of experimental labs, and personal contact with members of groups and collectives that work on the border of culture and technology. Such experiences contributed to the understanding of important elements of experimental labs, especially the aspect of non-conformation to the expectations of a society increasingly ruled by the transformation of every cultural expression into economic value. This understanding is deepened by the end of the dissertation on the image of the experimental lab as a blank space that, as well as working as an interface between digital networks and the particular dynamics of the places in which they are located, are also situated as instances of resistance and reinvention before the cybernetical informational capitalism
Mestrado
Divulgação Científica e Cultural
Mestre em Divulgação Científica e Cultural
Czajka, Rodrigo. „Praticando delitos, formando opinião : intelectuais, comunismo e repressão no Brasil (1958-1968)“. [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280603.
Der volle Inhalt der QuelleTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A produção artística e cultural realizada no Brasil entre as décadas de 1950 e 1960 é permeada de intensas discussões, tensões e conflitos que envolvem a disputa de distintos projetos intelectuais. Assim, a formação de um campo intelectual, a diversificação dos circuitos culturais e núcleos intelectuais e a emergência de uma intelectualidade de esquerda foram elementos presentes nesse contexto sócio-cultural. Estes foram fatores essenciais na consolidação de uma resistência cultural de esquerda que se defrontava tanto com o centralismo burocrático do Partido Comunista Brasileiro quanto com o regime militar após 1964. Entre dilemas ideológicos e políticos uma intelectualidade de esquerda floresceu não de forma homogênea e unitária, mas entremeada de impasses, disputas e embates que permitiram, em certa medida, a formação de núcleos culturais caracterizados, sobretudo, pela fragmentação. Com intuito de aferir tal modelo de análise dispusemos de um conjunto de Inquéritos Policiais-Militares (IPMs) que além de constituírem um material inédito de pesquisa, trazem elementos importantes para a discussão e detalhamento das questões culturais caras à intelectualidade de esquerda daquele momento. Constata-se, por exemplo, que a resistência cultural, mais que símbolo de uma unidade contra a repressão seja dos partidos ou do Estado, foi um fenômeno a partir do qual determinados núcleos intelectuais viram-se representados; uma hegemonia cultural de esquerda construída não pela coesão dos projetos de resistência, mas pelas dissensões e por aquilo que representava a resistência e a subversão comunista
Abstract: The artistic and cultural production made in Brazil at the 1950s and 1960s is permeated intensive discussions, tensions and conflicts involving the dispute of different intellectual projects. The formation of an intellectual sphere and the emergence of a left intellectuals group were elements presents in this context. These were key factors in consolidating a culture resistance of left that was built in the middle at the bureaucratic centralism of the Brazilian Communist Party and the military dictatorship after 1964. Between ideological and political dilemmas the left intellectuals appeared not homogeneous, but permeate of impasses, disputes and conflicts that favored the formation of cultural groups characterized by ragmentation. To check this analysis we searched a large number of military process (called IPMs) that as being a new material research, provide important elements for discussion and details of the cultural questions of the intellectuals at that time. For example, that cultural resistance, more than a symbol of unity against oppression of the the Party or the State, was a phenomenon from which certain intelectuals groups have been represented; a cultural hegemony of the left not made the cohesion of the projects of resistance, but by dissension and by what it represented the resistence and communist subversion
Doutorado
Doutor em Sociologia
Roger, Jean. „Le conseil du prince, par-delà Machiavel, des temps médiévaux à la Renaissance : Gouverner sans être soi-même gouverné“. Electronic Thesis or Diss., Rennes 1, 2022. http://www.theses.fr/2022REN1G011.
Der volle Inhalt der QuelleThe subject of the thesis is the discourses and practices relating to what is traditionally referred to as "Advice to prince". Such a topic is particularly vast and can be sectioned into three main themes: the study of the literature dealing with the art of governing; the analysis of the evolution of a prince’s entourage; the institutionalization of governmental and advisory mechanisms in parallel with the construction of a State. The aim of this thesis is to show that the transformations relating to the way of considering the advice to the prince in the 16th and 17th centuries are less part of a paradigmatic break than the extension of a process initiated since medieval times. It will therefore be a question of taking a step back from the traditional focus on Machiavelli’s thought in order to highlight the intellectual, social and political dynamics in the Middle Ages leading to the emergence of what we call “la conception directive du conseil”. This expression designates the idea that the exercise of government must be ordered in such a way that the prince’s will is not curbed by his advisers. The study of the practice of power shows that the royal state’s rise in the 13th century constitutes the starting point of this new approach. Machiavelli gave it a philosophical foundation in one of his chapters of The Prince, but other contemporary sources play an essential role in this history. Courtesan literature on one hand and utopian literature on the other have contributed in an ambivalent way to promoting this approach
Morelos, Ronaldo. „Symbols and power in the theatre of the oppressed“. Thesis, Queensland University of Technology, 1999.
Den vollen Inhalt der Quelle findenBotma, Gabriel Johannes. „Manufacturing cultural capital : arts journalism at Die Burger (1990-1999)“. Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/18065.
Der volle Inhalt der QuelleENGLISH ABSTRACT: This study examines the discursive role and positioning of arts journalism at Die Burger during a period of radical transformation in South African society. The study is conducted within a critical-cultural paradigm. Arts journalists are considered to be manufacturers of cultural capital, a term devised by Pierre Bourdieu as part of his comprehensive field theory framework. While Bourdieu uses cultural capital in the main to describe the role of education and culture in the maintenance of elite power hierarchies, this study investigates how the nature of cultural capital at Die Burger was affected by power shifts when competing elites jostled for dominance in a post-apartheid dispensation. By drawing on Michel Foucault’s theory of discourse, the focus of research further incorporates the discursive positioning of arts journalists in their coverage of arts and cultural events in the 1990s in relation to shifting configurations of power. The argument is that arts journalism at Die Burger can be situated within networks of power and thus contributed to the structuring of post-apartheid society. In the words of Antonio Gramsci, arts journalists became involved in hegemonic and counter-hegemonic struggles. Flowing from these theoretical departure points, the study identifies critical discourse analysis (CDA) as an appropriate research method for textual analysis and adapts a five-phase model suggested by Teun van Dijk as part of his contextual CDA approach. The analysis thus focuses in turn on the context of discourse, discursive struggles between arts journalists and political journalists, strategies of classification used by arts journalists, emerging themes of discourse in arts journalism, and how the selection and presentation of arts journalism on news and arts pages were influenced by various factors, including the personal background and experiences of arts journalists (The concept of Bourdieu’s “habitus”). To affect triangulation and enhance the textual analysis, the study also employs semi-structured indepth interviews with arts journalists who were prominent at Die Burger in the 1990s. The study found that arts journalists were at the intersection of different and often diverging and contradictory power-points in post-apartheid discourses at the newspaper. On the one hand, some arts journalists embraced a legacy of editorial independence at the arts desk and sometimes created oppositional discourses to the official political view of the newspaper: for instance on the issue of alleged “collective guilt” for Afrikaners and whether Naspers should appear before the Truth and Reconciliation Commission (TRC) to explain its role in supporting the National Party (NP) during apartheid. On the other hand, many arts journalists shared the editor’s apparent aversion to the international cultural boycott supported by the ANC and harboured some of the same skepticism about the so-called Africanisation of society and resultant attacks on Eurocentrism in the arts. This study -- the first on this level to focus on Afrikaans arts journalism since 1994 -- represents a significant contribution to knowledge in the under-researched field of arts journalism in South Africa. Its purpose and process has furthermore developed theoretical and methodological innovations which can enrich the field of journalism studies.
AFRIKAANSE OPSOMMING: Die studie -- vanuit 'n kritiese kulturele paradigma -- ondersoek die diskursiewe posisionering en rol van kunsjoernalistiek by Die Burger gedurende 'n periode van radikale transformasie in die Suid-Afrikaanse samelewing. Kunsjoernaliste word beskryf as vervaardigers van kulturele kapitaal, soos gekonsepsualiseer deur Pierre Bourdieu in sy omvattende raamwerk van veldteorie. Terwyl Bourdieu die term kulturele kapitaal hoofsaaklik gebruik om die rol van opvoeding en kultuur in die behoud van hierargieë van elite-mag te beskryf, ondersoek hierdie studie hoe die aard van kulturele kapitaal by Die Burger beïnvloed is deur magsverskuiwings waarin mededingende post-apartheid elite-groepe mekaar die stryd aangesê het. Deur gebruik te maak van Michel Foucault se teorie van diskoers, val die fokus van navorsing dus op die diskursiewe posisionering van kunsjoernaliste in hul dekking van kuns-en-kultuurgebeure in the 1990’s. Die argument is dat kunsjoernalistiek by Die Burger binne magsnetwerke geplaas kan word en bygedra het tot die strukturering van die post-apartheid samelewing. In Antonio Gramsci se terme het kunsjoernaliste dus betrokke geraak in die stryd om hegemonie te skep en teen te werk. Uitvloeiend uit hierdie teoretiese vertrekpunte word kritiese diskoersanalise (KDA) as navorsingsmetode vir die ontleding van joernalistieke tekste geïdentifiseer. Daarvolgens word 'n model met vyf stappe, voorgestel deur Teun van Dijk as deel van sy KDA-benadering, aangepas vir gebruik. Die analise fokus dus om die beurt op die konteks van diskoers, die diskursiewe stryd tussen kunsjoernaliste en politieke joernaliste, strategieë van klassifikasie wat kunsjoernaliste gebruik het, temas van diskoers wat aan die lig gekom het in kunsjoernalistiek, en hoe die seleksie en aanbieding van kuns-en-kultuur-nuus deur verskillende faktore beïnvloed is, insluitend deur die persoonlike agtergrond en ondervinding van kunsjoernaliste (“habitus” in Bourdieu se teorie). Om triangulasie te bewerkstelling en die teks-analise te ondersteun, is semi-gestruktureerde in-diepte onderhoude met prominente kunsjoernaliste aangelê. Die studie het vasgestel dat kunsjoernaliste in post-apartheid diskoerse in die koerant hulself op 'n kruispunt van verskillende, soms uiteenlopende en selfs opponerende strominge van mag bevind het. Aan die een kant het sommige kunsjoernaliste 'n tradisie van redaksionele onafhanklikheid omarm en soms opposisionele politieke diskoerse in vergelyking met die amptelike beleid van die koerant geskep, byvoorbeeld oor die kwessie van beweerde “kollektiewe skuld” vir Afrikaners en of Naspers voor die Waarheid-en- Versoeniningskommissie (WVK) moes verskyn om sy rol as ondersteuner van die Nasionale Party (NP) gedurende apartheid te verduidelik. Maar aan die ander kant het talle kunsjoernaliste die redakteur se klaarblyklike afkeer gedeel aan die internasionale kultuurboikot wat deur die ANC ondersteun is. Kunsjoernaliste was ook skepties oor die sogenaamde Afrikanisering van die samelewing en gevolglike aanvalle op Eurosentriese kuns. Ten slotte maak hierdie studie -- die eerste op hierdie vlak oor Afrikaanse kunsjoernalistiek sedert 1994 -- 'n belangrike bydrae tot die yl kennisveld van kunsjoernalistiek in Suid-Afrika. In die proses het die studie ook teoretiese en metodologiese innovasies aangebring wat die veld van joernalistiek-studies kan verryk.
Mihail, Benoît. „Le "Néo-Flamand" en France: un passé régional retrouvé et réinventé sous la Troisième République“. Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211363.
Der volle Inhalt der QuelleCarrasco, Clare. „The Most Expressionist of All the Arts: Programs, Politics, and Performance in Critical Discourse about Music and Expressionism, c.1918-1923“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862862/.
Der volle Inhalt der QuelleSamwanda, Biggie. „Postcolonial monuments and public sculpture in Zimbabwe“. Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006825.
Der volle Inhalt der QuelleMicrosoft� Word 2010
Adobe Acrobat 9.54 Paper Capture Plug-in
Bassas, Assumpta. „La trayectoria de tres artistas en el pasaje del conceptualismo en Cataluña: Silvia Gubern, Àngels Ribé y Eulàlia“. Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/387112.
Der volle Inhalt der QuelleThis research builds and discusses the artistic career of Silvia Gubern, Àngels Ribé and Eulàlia (Grau), mainly in the stage called "conceptual practices" from documentary sources and introducing the voice of the artists and biographic facts. These three monographs also incorporate critical reception and evaluation of the press and the art critics. The author points out the importance of reading those careers taking into account the perspective of the Italian and Spanish feminism of sexual difference. Beyond the "neutral" interpretive framework that has been used to classify them as conceptual artists in the modernist history of catalan avantgarde art, this thesis lays the foundation for reading women genealogies of creativity oriented by the female sexuation of knowledge and to explore women's freedom in history. Thus, conceptualism would not be a single framework to assess their contribution to the history of art. It is defined as a living moment in a much longer and complex creative itinerary, a stage in which many issues intersect, focusing on some core aspects such as sexual politics in the history of women in the 60s and 70s in Catalonia (Spain).
Torrubia, Rafael. „Culture from the midnight hour : a critical reassessment of the black power movement in twentieth century America“. Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1884.
Der volle Inhalt der QuelleKyser, Tiffany S. „Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change“. Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.
Der volle Inhalt der QuelleTitle from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
Quigley, Maureen Rose 1969. „Political benefit and the role of art at the court of Philip VI of Valois (1328-1350)“. 2003. http://hdl.handle.net/2152/12551.
Der volle Inhalt der QuelleDuong, Paloma. „Amateur Citizens: Culture and Democracy in Contemporary Cuba“. Thesis, 2014. https://doi.org/10.7916/D8J964WP.
Der volle Inhalt der QuelleFrobes-Cross, Nicholas. „Various Representational Tasks: Art and activism in the early work of Martha Rosler, Allan Sekula and Fred Lonidier, 1967-1976“. Thesis, 2016. https://doi.org/10.7916/D88K794J.
Der volle Inhalt der Quelle