Dissertationen zum Thema „Artist“
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1
Mantooth, Jennifer R. „Muse as artist : selected artists past and present /“. Online version of thesis, 1992. http://hdl.handle.net/1850/11227.
2
O'Neil, Maryvelma Smith. „Giovanni Baglione : seventeenth-century artist, draughtsman and biographer of artists“. Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:b1494a9e-8c16-4d48-9553-0f63da44cb6c.
Annotation:
This thesis explores Baglione's contributions to art and to the history of art by examining the nature of his artistic and critical originality and the significant influences thereon. In the work for which he is best known, Le Vite ... (1642), Baglione was an interesting and generous critic who was unusually receptive to pictorial effects, even when in architecture and sculpture. He assesses Caravaggio's accomplishments with well chosen observations thereby breaking his restriction to discuss only accessible works of art. A broad view of his paintings and drawings shows Baglione's complex, original and thoughtful voyage of discovery assisted by the intelligence with which he absorbed artistic influences, particularly from Raphael and the Cavalier d'Arpino. His refined style of drawing distances him from Caravaggio. In paintings from the first decade, light and shadow give form to graceful figures enveloped in voluminous garments. After 1610 the compositions become more inventive and increasingly Baroque. Baglione's attempt to make a synthesis out of ideal generalization and naturalistic description and to explore new subject matter constituted a search for a "maniera propria" that combined stylistic originality with a penchant for unusual iconography. The most important trends in Baglione's draughtsmanship are the tendency towards a broader, freer handling and the versatility with which he handles the technical means at his disposal. Though he often crosses over the line into the Baroque, the idealism of his Tusco-Roman formation and fondness for angular lines constrain him from fully yielding to a dynamic disposition. His very personal style can be seen in a number of drawings from the 1620s and 1630s that attain a remarkable pictorial aspect and a Baroque quality of sensual presence. His sophisticated use of the three chalk technique prefigures the form dissolving effects to be popularized by Watteau. At the same time, the defining contour line that emphasizes integrity is not abandoned.
3
Mujica, Alejandro. „Escape Artist“. Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5346.
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My thesis, Escape Artist, is a composite novel written as a fictitious memoir, similar in style to Tim O'Brien's The Things They Carried, that describes my experiences between the years 2001 and 2011. During that time I went through Marine Corps Boot Camp, became a military police officer, patrolled Yuma, AZ, was sent to Iraq for a seven-month tour as a security detail just before the start of Operation Iraqi Freedom, and made it back home four years later. The novel also looks into my struggles with Post-Traumatic Stress Disorder symptoms, how they affected the people around me, and what I've been trying to do to remedy them (or ignore them).M.F.A.
Masters
English
Arts and Humanities
Creative Writing
4
Gustina, Charles F. „Escape Artist“. VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1494.
Annotation:
This thesis reviews the background, influences, and evolution of the body of work entitled Folia, which forms the basis for the candidate's thesis exhibition. It traces the development of the candidate's artistic inclinations from drawing to photography. Directorial and Pictorialist photography are discussed as forebears in the Influences chapter. Evolution of the Body of Work details how the current work grew from both the candidate's background and influences. A Brief Anthology of Quotations references Susan Sontag's influential work, On Photography, with quotations that have either influenced the candidate's work or reflect his perceptions of art and life. The balance of the thesis describes the candidate's working process in creating the work, and the installation at VCU's Anderson Gallery.
5
Lamb, Justin. „Escape Artist“. ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2621.
Annotation:
This poetry manuscript explores themes of family and addiction, education and New Orleans, and fear and escape in the span of three parts. Its preface examines the poet’s background and influences, his relationship with performance and humor, and the levity he hopes to create in his work.
6
Ladbon, Halima. „Artist Statement“. CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/916.
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Calvert, Robyne Erica. „Fashioning the artist : artistic dress in Victorian Britain 1848-1900“. Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3279/.
Annotation:
My research comprises a study focused on Artistic Dress circa 1848-1900, presenting a roughly chronological survey that seeks to further our knowledge on its development, varied manifestations, and influence, both during its time and on subsequent fashion trends. While Artistic Dress is a category that is acknowledged in the current literature on fashion history, it has had limited and at times conflicting treatment. It is most often employed to describe sartorial codes in which significant arts practitioners and patrons—particularly those associated with Pre-Raphaelitism, the Arts and Crafts Movement, Aestheticism, and Art Nouveau—wore (and at times designed and promoted) clothes that were frequently labelled in contemporary literature as ‘artistic’ or ‘aesthetic’. These descriptors designated such clothing to be of a unique and creative calibre, but also outside the norm. As such, it has been a subject of interest for art and fashion historians, but usually only approached marginally within the scope of larger studies on related artistic movements, or within studies of larger fashion histories on nineteenth century dress and/or Dress Reform. This thesis offers a closer examination of Artistic Dress than has previously been undertaken. The methodology for this research was to compile a history of the phenomenon of Artistic Dress derived from relevant primary source material, including (where possible) actual clothing, images (photographs and paintings), and text (correspondence, memoirs, and periodicals) related to selected ‘artistic dressers.’ Through this, I hope to identify whether there are in fact differences in the aforementioned related terms, and whether we might be able to position Artistic Dress as an umbrella term that is the most appropriate classification for the alternative sartorial trends found in artistic circles in Victorian Britain, offering a solution to this terminological quandary in dress history. It is hoped that in clarifying this term, other styles such as Aesthetic Dress and Reform Dress—and their relation to artistic practice—may be better understood. In this way, it is intended that this research will enrich the body of knowledge in the areas of both the History of Fashion, and of British Visual Culture.
8
Taft, William W. Jr. „The Special Artist“. Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_theses/120.
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Earner, Meaghan. „Allston Artist Village“. View thesis online, 2009. http://docs.rwu.edu/archthese/13/.
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Lange, Shara K. „Guest Artist Talk“. Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/3652.
11
Handa, Haruhisa. „The living artist“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/738.
Annotation:
"The Living Artist" describes Haruhisa Handa's diverse activities in the arts as analyzed by himself. He investigates why he ventured out to learn both western and eastern styles of art, and researches what it is that truly motivates him to take on such challenging activities. In this thesis, Handa begins with recollections and an evaluation of his own life. At present he is Involved In art from a wide variety of periods and cultures Including calligraphy, painting, tea ceremony, and Noh drama from Japanese culture, oil painting, composition, classical music and ballet from western culture as well as classical Chinese opera. Throughout he questions what It is that drives him into each of these areas, and returns to his elementary and junior high school days to probe for an answer. As he discusses his own history from his childhood to the present, he also analyses his own trail as a man of religion, which underpins all of his artistic ventures. After reflecting on the past, he moves through to the present, and evaluates the Influence of the Shinto religion on his artistic activities. He seeks to justify the reasons for the diverse path he has followed as both a businessman and as an artist through his understanding of Shintoism, a religion that is deeply rooted In the foundation of Japanese culture. He continues his narrative from various points of view, and reveals the methodology through which he engages in his artistic activities as well as In his primary role as a successful businessman. In particular, he evaluates his activities as a businessman and draws comparisons to his business peers and their involvement In the arts. Throughout the study Haruhisa Handa's arts practice is evidenced in his supplementary package of videos, COs and monographs that are appended to this work. Not all of Handa's activities in the arts are traditional performances or paintings; many of his projects creatively integrate religion and business. Indeed, all aspects of his life are tied together by one common factor. In this study he identifies what It is that motivates his wide-ranging artistic ventures, and in so doing reveals a unique approach to arts participation and patronage.
12
Watkins, James M. „God, artist and material : toward an ethical paradigm for artistic creativity“. Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3665.
Annotation:
The central argument running through this project is that, if re-imagined in light of a Christian theology of creation, comparisons between divine and human creativity provide a valuable ethical paradigm because of the structure they provide for thinking about and engaging in creative practices. Because there is not enough space to do justice to the full gamut of the human experience of creativity, I have chosen to narrowly focus on comparisons between divine and artistic creativity. Very specifically, this project is concerned to show that comparing the artist's relation to her materials to God's relation to the cosmos as a whole can envision the artist as respectfully transforming her materials. In part one, I present negative and positive arguments for the use of comparisons between divine and artistic creativity as ethical paradigms in a theology of art. I then suggest that the theological term ‘kenosis' might serve as the focus of such an ethical paradigm, and that those who describe divine creativity as kenotic are helpful dialogue partners for the development of a comparison between divine and artistic creativity. The heart of this project is part two, in which I consider three different types of comparisons. By ‘type of comparison,' I refer to the comparisons' central content. The three types considered are: the modern concept of genius, the incarnation as revelation and the incarnation as redemption. I argue that the latter type provides the best ethical paradigm for encouraging artists to respectfully transform their materials. In Part three, I assess the comparison between artistic creativity and the incarnation as redemption according to its anthropological and theological costs. Turning to recent formulations of divine kenotic creativity, I develop a comparison between divine and human creativity that includes vulnerability and risk.
13
MOTTA, CARLOS EDUARDO VARELLA PINHEIRO. „NELSON RODRIGUES, ARTIST AND ARTISAN: REFLECTIONS ABOUT THE RODRIGUEANO DIALECTS CONSTRUCTION“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12373@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORAo nos depararmos com o conjunto da obra de Nelson Rodrigues, observamos uma unidade que extrapola qualquer divisão por gênero. Antes de ser dramaturgo, romancista, contista ou cronista, Nelson é, acima de tudo, um escritor comprometido com a criação artesanal de uma língua própria, que chamaremos de dialeto rodrigueano. Ao longo deste trabalho, analisaremos as principais marcas textuais que compõe este complexo dialeto, tendo como objetivo primordial provar que as intenções artísticas do autor eram muito mais ambiciosas do que podem parecer aos leitores pouco iniciados em seu universo.
When we come across with the set of Nelson Rodrigues workmanship, we observe a unit that surpasses any division by genre. Before becoming a playwright, novelist, short story writer or chronicler, Nelson is, above of everything, a writer compromised to the artisan creation of a proper language, that we will call rodrigueano dialect. Throughout this work, we will analyze the main textual marks that make up this complex dialect, with the primary aim to prove that the artistic intentions of the author were much more ambitious than may appear to readers as a little initiated in your universe.
14
Withers, Marie. „How Does the Artist Teacher Successfully Negotiate Being Both Artist and Teacher?“ BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/7387.
Annotation:
Around water coolers, faculty rooms, and classroom corners, art teachers discuss their concerns about maintaining a balance between making, teaching, and studying art. Research indicates there are advantages and disadvantages to commingling these activities, and about how these activities inform each other. The purpose of this study is to not only research what has been written, but also discover through interviews, using a narrative inquiry/case study approach, what living, breathing artist teachers are doing to that allows them to take advantage of the symbiotic nature of making, teaching, and studying art.
15
Johansson-Evegård, Erik. „Artist Friendly Fracture Modelling“. Thesis, Linköpings universitet, Institutionen för teknik och naturvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-74477.
Annotation:
Destruction is one of the key aspects of visual effects. This report describes the work that was done to create a production ready pre-fracture modelling plug-in for Maya. It provides information on what methods that can be used to create a robust plug-in and various techniques for sampling points to create interesting fracture patterns using the Voronoi diagram. It also discusses how this work can be further built on to create an even better plug-in.
16
Thornton, Alan. „Educating the artist teacher“. Thesis, Anglia Ruskin University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401318.
17
Lass, Barbara Frances. „Hans Richter : film artist /“. Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778974.
18
Simcox, Roderick. „Interpretation and the artist“. Thesis, Birkbeck (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342735.
Annotation:
Interpretation which is sensitive to the creative past can be given a justifying foundation by extensive description of ways in which we employ perceptions of the artist's significance. Such a justification, based only on description, can be measured for success against an ideal where justification and explanation would issue from a strong, independent artist-artwork tie. The ideal is approached, but is itself impossible: connections between interpretation and the creative past are heterogeneous and the sensitivity of interpretation to variations in creative history fails to show that interpretation follows any general principle. Interpretation creates a past that is part fictional in several ways for expressive purposes, and a part fictional artist again undermines a general, strict connection between true meaning and the real past. When interpreters hold theoretical beliefs to the contrary, interpretation suffers distortion. Neither can a strong tie be uncovered through ontological proposals. Apparent strong ties turn out to be justified stipulations for practical, imaginative, interpretative use of the creative past. Justified interpretation must support principal organising ideas. Otherwise, however, interpreters exploit the creative past; they are not held in its grip. As dermed, the ideal justification would: (1) press the justified practice upon interpreters, and (2) ensure that meaning is objective. A foundation based on description dilutes but approaches this ideal. Taking each of the two features in turn: First, rather than mandate the practice, connections between the practice and its environment create, as a minimum, a defensible case against arbitrariness. This "environment" includes an address made to artworks which is akin to an address to mind. Non-arbitrariness is reinforced when any ideological attack on the artist must fail in principle to promise ideologically acceptable alternatives. Second, a descriptive justification rejects oruy objectivity of the wrong kind. This leads to a particular view of alleged constraints on interpretative practice
19
Bryant, Benjamin R. „The artist as shaman“. Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1327289.
Annotation:
Albert Einstein is one indisputable luminary who in my opinion exemplifies the balance, brilliance, and altruism I look for in my heroes. Subsequent to his dream of riding a beam of light to the edge of the universe, with the tools of calculus and physics, he radically changed our understanding of the universe. But the dream came first, and everybody dreams.I believe everyone has something incredible to offer. In my creative project paintings I attempt to demonstrate with the tools of paint and canvas my peculiar dream of the cosmos from macrocosm to microcosm.I ride the beam of light using paint and canvas, in my creative project paintings I celebrate my fascination with that intuitive element we all share. I also celebrate those who have gone before with the wisdom to seek an understanding and discernment of the genius we all share, have access to, and indeed must thoughtfully and carefully awaken for our species to evolve past its current halting material, ideological, and technological adolescence.Department of Art
20
Bennett, Garry. „An artist teacher's portrayal“. Thesis, University of East Anglia, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359888.
21
Chaffin, Jason Edward. „The Embedded American Artist“. ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1162.
Annotation:
As our world ramps up the speed of its connections, our identities merge with increasing speed and angles of confluence. Not only are new identities created, but also the more fringe social and cultural elements of our world are exposed to mainstream consciousness. My work is a product of my own fringe background (namely its sheer breadth of experiences not normally visited upon a single person's life). My aim is to add variables to our social and cultural speed of combination and new variety by creating work that is derived from my own experiences to speak to those who are of the newer combinations and newer social recognition. I am motivated to create this work both to perpetually define and redefine myself, and also to give ground to an ‘identity of no identity' on a global scale, to our artistic dialogue and catalog.
22
Waldmeier, Martin. „The artist as translator“. Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/19819/.
Annotation:
This thesis project explores an artist figure that has risen to prominence in the context of the art world’s growing global interconnectedness: the figure of the (cultural) translator who shifts between multiple cultural and linguistic zones, speaking between them. In order to approach this figure I map out the international art world and its institutions as places marked by linguistic operations and acts of cross-cultural address, arguing that the translatability of an artist’s work is key to its circulation within an expanding international circuit. I argue that the translator figure can be viewed as a response to the demands posed by institutional politics of diversity, neoliberal economics of cultural circulation, as well as the changing roles of art as a global medium — with artists becoming cross-cultural public intellectuals and commentators. In dialogue with selected artistic practices and their specific contexts (Nicoline van Harskamp, Guillermo Gómez-Peña, Walid Raad, Rabih Mroué, Dilek Winchester and others) and drawing from translation studies (especially Naoki Sakai’s notion of translation not as a binary activity but as a relational practice and form of address), I explore the various intellectual, artistic, and critical potentialities immanent to the role of the translator, and argue for translation to be developed as a form of critical cross-cultural authorship in the field of international contemporary art.
23
Panton, Pat. „The artist as agent“. Thesis, University of Bristol, 1985. http://hdl.handle.net/1983/950bd0f8-083e-48a9-a7f6-f44ee8a02d1b.
24
Fortkamp, Aaron M. „The Little Death Artist“. Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1318025921.
25
Walsh, Bradley Michael. „Humbert Lucarelli: Oboe Artist“. The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306807891.
26
Orellana, Fernando. „On Becoming an Artist“. The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1419352244.
27
White, Sullivan Canaday. „Training the Theatre Artist“. VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/8.
Annotation:
While most undergraduate theatre programs value the concept that their students should be acquainted with all areas of theatre, (acting, directing, design, playwrighting), they implement it by asking students to take classes in each area of specialization, which can reinforce the natural division between the fields. This thesis aims to create four courses that would be a part of a larger undergraduate curriculum that focus upon training the theatre student in a holistic manner through developing knowledge and skill in all fields of the theatre simultaneously and within a single class. Significantly, this process begins with a course in collaboration that consciously draws attention to the components and abilities necessary for fruitful ensemble work. Students participate in non-hierarchical methods for creating theatre and then apply these same concepts to the elements (actor, text, light, sound, etc.) that contribute to creating theatrical moments. This type of training encourages students to view themselves not just as an actor or director or designer or playwright, but as theatre artists who have a sense of ownership of the knowledge of how these various fields work together within him or herself, but also within the theatre as a whole. My experience has been that after such courses students have an even greater sense of respect for what it means to make theatre with a group of people, and as theatre is never done in isolation, this is a step toward more empowered theatre artists.
28
Jakobsson, Pontus. „Proceduralism, the Automated Artist“. Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74628.
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Meban, Margaret. „I'm doing what artists do!, a case study of an artist-in-residence program“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0004/MQ42716.pdf.
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Mendonça, Júnior Jorge Witt de. „O tempo do artista em A portrait of the artist as a young man“. PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DA LINGUAGEM, 2018. https://repositorio.ufrn.br/jspui/handle/123456789/25094.
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A obra de James Joyce (1882-1941) que trabalhamos nessa pesquisa, A Portrait of the Artist as a Young Man, publicada em 1916, narra a história de Stephen Dedalus no período que vai da sua infância até o início da idade adulta. É a partir dessa perspectiva da evolução do texto juntamente com o personagem que propomos um estudo do romance enquanto gênero diferenciado no tratamento da categoria do tempo. Partimos com o objetivo de analisar de que maneira a linguagem desenvolvida pelo autor possibilita a criação de uma camada linguística para o desenvolvimento do personagem e do tempo ao longo da narrativa, possibilitando o compartilhamento de uma experiência temporal a partir da linguagem. Analisaremos como a linguagem é utilizada para desenvolver a temática da rebeldia do personagem, inserida na estrutura linguística da obra. Desenvolvemos essa pesquisa em A Portrait a partir do estudo de autores como Ricoeur (1995), Bakhtin (2010), Benjamin (2011), Lukács (2007), Mendilow (1972), Genette (1995), entre outros. Discutimos também a questão da interação narradorpersonagem e sua influência na evolução da narrativa, partindo de Candido (2007) e Auerbach (2002). Nossa proposta desenvolve primeiramente um estudo sobre as características romanescas que fazem da temática do tempo um elemento essencial à forma do romance. Abordamos, na sequência, a forma como a linguagem desenvolve uma reconfiguração da experiência temporal na estrutura linguística do romance. Chegamos à conclusão de que para configurar o tempo por meio da linguagem, o autor utiliza de recursos literários como, por exemplo, a relação entre o narrador e personagem observada na manipulação do ponto de vista, a possibilidade de unir o discurso do narrador às palavras do personagem por meio de uma linguagem híbrida, o uso de ferramentas como a repetição ou a exploração dos níveis da consciência do personagem pela sua linguagem, além da adaptação de estilos e padrões narrativos correspondentes a cada etapa da vida do personagem fazendo com que a sua evolução seja sentida, não apenas declarada, na própria experiência linguística da leitura.
The work of James Joyce (1882-1941) discussed in this research, A Portrait of the Artist as a Young Man, published in 1916, tells the story of Stephen Dedalus, in the period of time that goes from his childhood to early adulthood. It is from the perspective of the evolution of the text along with the character that we propose a study of the novel as a genre differentiated in the treatment of the category of time. We set out to analyze how the language developed by the author allows the creation of a linguistic layer for the development of the character and the category of time throughout the narrative, allowing the sharing of a temporal experience from the language. We will also analyze how the language is used to develop the theme of character's rebellion, which is also observed in the linguistic structure of the novel. We carry out this research in A Portrait from the theoretical underpinning of authors such as Ricoeur (1995), Bakhtin (2010), Benjamin (2011), Lukács (2007), Mendilow (1972), Genette (1995), among others. We also discuss the narrator-character interaction and its influence on narrative evolution, based on Candido (2007) and Auerbach (2002) theoretical background. Our proposal first depicts a study on the romanesque characteristics that make of the category of time an essential element to the form of the novel. We next deal with the way language embodies a reconfiguration of temporal experience in the linguistic structure of the novel. We conclude that in order to configure the time within the language, the author uses literary resources such as the relationship between the narrator and character, which can be seen in the manipulation of the point of view, the possibility of uniting the speech of the narrator to the words of the character through a hybrid language, the use of tools such as the repetition or the exploration of the levels of the character's consciousness by its language and the adaptation of narrative styles and patterns corresponding to each stage of the life of the character, causing its evolution to be felt, not just stated, in the linguistic experience of reading.
31
Urbaniak, Erick Francis. „Criminals and Artists: Detecting the Artist in German Crime Literature of the Twentieth Century“. Cincinnati, Ohio : University of Cincinnati, 2009. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1236187503.
Annotation:
Thesis (Ph.D.)--University of Cincinnati, 2009.Advisors: Todd Herzog (Committee Chair), Katharina Gerstenberger (Committee Member), Richard Schade (Committee Member). Title from electronic thesis title page (viewed May 2, 2009). Keywords: Crime Literature; Artists and Criminals; Hochstapler; Serial killers; Thomas Mann; Doron Rabinovici; Identity Formation; Criminality; History of the Artist. Includes abstract. Includes bibliographical references.
32
Dang, Dacchi. „The Artist as Explorer: How Artists from the Vietnamese Diaspora Explore Notions of Home“. Thesis, Griffith University, 2013. http://hdl.handle.net/10072/366661.
Annotation:
My personal experiences as a refugee inform how I see the multiple geographical and social landscapes of Australia and Vietnam, and how I mediate a new sense of home from between these diverse experiences. In turn, this provides new knowledge and understanding of the physical and cultural terrain of both countries. Within my studio work I have used this approach to create or reinvent layered landscapes through my personal experiences and memories in order to explore how a contingent, illusive/elusive ‘home’, that has also performed the role of a mythical symbol of refuge in the Vietnamese diaspora, has been inexorably linked to identity and belonging.
In my written work undertaken as part of the process of this candidature I have also examined the ways in which narratives of personal journeys within the diaspora experience have been described in ways that have avoided the usual negative associations of ‘refugee status’, and that have instead been undertaken via a more positive approach to interpreting that role as akin to that of the ‘explorer’.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art, Griffith University
Arts, Education and Law
Full Text
33
Lund, Kimberley Ann 1955. „Transition from artist to artist teacher: A case study of graduate student studio teaching“. Thesis, The University of Arizona, 1993. http://hdl.handle.net/10150/292007.
Annotation:
This work is a qualitative inquiry, using naturalistic, descriptive methods of educational anthropology to form a case study of the teaching and learning environment in a particular graduate teaching assistant's (GTA) University Foundations drawing classroom. Data reveal relationships, patterns and forms in the GTA's teaching behaviors, classroom phenomena and the student's learning behaviors. Inferences are drawn from the descriptive data and hypotheses are formulated that concerns itself with how the particular graduate student teaches studio art and why. By recording a GTA's personal pedagogical evolution and investigating the assumptions and values that underlie the process, the researcher has discovered general characteristics of university visual arts teaching for structuring knowledge in that area. Conclusions are education in the arts is personality driven, good teaching is a sustained and willful act and curriculum must be sequentially ordered for optimum student learning.
34
Martin, Rebecca Lynn Londré Felicia Hardison. „Robin Humphrey, the teaching artist“. Diss., UMK access, 2005.
Annotation:
Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2005."A thesis in theatre." Typescript. Advisor: Felicia H. Londré. Vita. Title from "catalog record" of the print edition Description based on contents viewed June 26, 2006. Includes bibliographical references (leaves 82-93). Online version of the print edition.
35
Johnson, Oliver. „Aleksandr Laktionov: A Soviet Artist“. Thesis, University of Sheffield, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490187.
Annotation:
What did it mean to be a successful Soviet artist? Was Socialist Realism, the official art of the Soviet Union, simply the dictated ideological product of a totalitarian cultural policy, or were its producers progressive artists, harnessed to a great national tradition and liberated from the constraints of a market-driven art establishment? These are the two Cold War poles of contention that simplify the reality of a diverse and complex art establishment. Through an analysis of Aleksandr Laktionov, a popular and contentious Soviet artist who rose to prominence in the late 1940s, it is possible to trace the main arguments and controversies that helped to shape the Soviet art world in the post-war years. This project employs archival material such as visitors' books from major exhibitions, stenographic reports of meetings, documents pertaining to the organisation of exhibitions and letters and personal documents in order to reconstruct and examine significant moments in the career of a major Soviet artist, including detailed analyses of several individual works of art. This unique case study of Laktionov's work and its popular and critical reception reveals an art establishment that was structured in the late 1940s according to privileged lines of patronage and association, and in the 1950s became the battleground of a struggle for taste. The Soviet public defied attempts to mould and direct their tastes by responding to works of art as diverse and impassioned consumers, and the Soviet artist played an active role in contributing to an evolving definition of Socialist Realism.
36
Wheeler, Lori Jean. „The Development of an Artist“. The University of Montana, 2010. http://etd.lib.umt.edu/theses/available/etd-05242010-174014/.
Annotation:
The goal of my final creative project was to receive instruction in the area of the visual arts, create a body of work that would be displayed in an art gallery or other appropriate setting, and emerge publicly as an artist. This goal was important to me for two reasons. The first reason was that for many years I had suppressed my own need to create and express myself through art for various reasons: lack of instruction and fear of stepping out of the box and expressing myself creatively. My final creative project has led to an awakening of my ability to express myself through my artwork and make personal connections with my paintings. Focusing on the basic elements of art in my instruction and integrating this new knowledge into each of my paintings has produced a great deal of personal growth as an artist. The second reason this goal was important to me was that integrating the fine arts into the curriculum of the public schools has always been a priority. Teaching visual arts to the students in my regular education classroom was something I have strived for, yet I felt I lacked the skills needed to teach it well. This project resulted in the realization that I was an artist who could produce works of art pleasing to others and myself as well. In addition to addressing my lack of personal art and development as an artist, I also resolved the problem of having the skills and knowledge to bring quality art instruction into the classroom. While this creative project has been focused primarily on my own artistic development, my students will reap the benefits of my growth for years to come.
37
Brilhart, Daniel Lee. „The artist as shalom builder“. Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
38
Too, Wing-tak Ken, und 杜永德. „Artist colony at Green Island“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983650.
39
Hoekstra, Marike. „Artist teachers and democratic pedagogy“. Thesis, University of Chester, 2018. http://hdl.handle.net/10034/621472.
Annotation:
Combining artistic practice with teaching is not unusual for teachers in the visual arts. A dual professional practice, which can be found throughout the field of art education with art teachers in all levels of education, requires a negotiation of roles and positions on a personal level and has impact on pedagogy. However, the binary opposition of artist versus teacher fails to comprise the diversity of practices where art making and teaching are combined. Not only does identification with artist or teacher vary, so does the extent to which the two disciplines are fused, to the point where it can be called a hybrid practice when the distinction between art and teaching is no longer relevant. The democratic nature of contemporary visual art making further problematises a singular model of artist teacher practice. In order to do justice to the personal strategies artist teachers employ in balancing their dual professional roles, this thesis proposes a multifaceted concept of artist teacher practice. In this thesis, the notion of hybridity and diversity in artist teacher practice and the implications for democratic models of teaching and learning is subject to both theoretical, empirical, and artistic inquiry. The employment of different lenses enables a multi-layered approach to a complex practice. By focusing on the knowledge incorporated in the practice of two Dutch artist teachers this thesis informs how artist teacher practice relates to models of democratic teaching and learning. The miniature dioramas visually explore my own perception of democratic learning spaces and add an extra auto-ethnographic layer of understanding to artist teacher pedagogy. Central in this thesis is the notion of a pedagogical thirdspace. A spatial representation of social realities helps to create a critical understanding of human life. A thirdspace is a place in the margins between reality and ideals (Soja, 1999). When binary models of understanding are exchanged for real-life knowledge of the pedagogical practice of artist teachers an ambiguous open space emerges, where there is room for experiential learning, uncertainty, risk-taking, care, equality, inclusion, tacit experience, sensitivity, play, flexibility, and conflict. The engaged pedagogy (hooks, 1994) of artist teachers emancipates learners because of the fact that the duality of the artist teacher invites learners to join in a democratic, living model of artistic practice.
40
Olinda, Sahmaroni Rodrigues de. „Subterranean literature and artist-formation“. Universidade Federal do CearÃ, 2016. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=17965.
Annotation:
CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiornÃo hÃ
Leitura â como braconnage â da biografizaÃÃo da experiÃncia de agentes que se dizem escritores, filhos da pauta, este estudo objetiva compreender, a partir da figuraÃÃo de si nos relatos biogrÃficos sobre como agentes sociais que nÃo âdependemâ do mercado editorial â a âordem mercadolÃgica dos livrosâ â para fazerem circular seus trabalhos artÃstico-literÃrios formam-se âescritores/asâ (processo de subjetivaÃÃo, imersÃo de territÃrios existenciais). Trata-se de evidenciar uma caudalosa produÃÃo de literaturas subterrÃneas que banham e escorrem em bares, ruas, bosques, centros culturais, dentre outras zonas de encontro e partilha. Para tanto, contou com o apoio teÃrico de Roger Chartier (2003, 2005, 2009) e os estudos sobre a leitura como prÃtica cultural, Michel de Certeau (1990) e as prÃticas microbianas de invenÃÃo do cotidiano, Jorge Larossa (1998, 2002, 2004) e a relaÃÃo entre formaÃÃo e experiÃncia, Jacques RanciÃre (1987, 1995, 2000) e suas concepÃÃes de partilha do sensÃvel e mÃtodo da igualdade, Guattari (2011, 2012) e Guattari & Deleuze (1990, 2011) e sua concepÃÃo sobre subjetivaÃÃo. Como perspectiva metodolÃgica, foi utilizada a Pesquisa BiogrÃfica em EducaÃÃo (DELORY-MOMBERGER, 2015). Foram utilizadas a entrevista narrativa, o diÃrio de campo e o diÃrio de participante como âtÃcnicasâ de produÃÃo de dados. Produzimos entÃo uma forma de ler os dados que respeitasse as singularidades dos percursos e territÃrios estudados. O estudo evidenciou uma proliferaÃÃo de produÃÃo e circulaÃÃo de objetos-impressos literÃrios (zines, livros feitos à mÃo, folhas avulsas etc) e a dificuldade de separaÃÃo entre tela/pÃgina como modo de divulgaÃÃo de escritos literÃrios por parte dos artistas da palavra entrevistados, como tambÃm seus modos de fazer, ser e agir â sua formaÃÃo-artista â para se tornarem filhos da pauta.
Reading â as a braconnage â of the biographical process of the experience of the agents self-called writers, âsons of a sheetâ, this study aims at comprehending, from the self-figuring along the biographical narrations about the way some social agents, who do not âdependâ on editorial market â the âmarket order of the booksâ â to make their artistical-literary works come out become writers (process of subjectivity, immersion of existential territories). The objective is to enlighten a huge production of some subterranean literature which bathe and drop in pubs, streets, cafes, culture points, among other zones of meeting and sharing. Our theoretical support is upon the following postulates and authors: Roger Chartier (2003, 2005, 2009) and the studies about reading as a culture practice; Michel de Certeau and the microbial practices of the invention of the ordinary life; Jorge Larossa (1998, 2002, 2004) and the relation between formation and experience; Jacques RanciÃre (1987, 1995, 2000) and his conceptions about the sharing of the sensitive and his method of equality, Guatari (2011, 2012) and Guatari & Deleuze (1990, 2011) and their conception about subjectivity. As a methodological perspective, we made use of the Biographical Research on Education (DELORY-MOMBERGER, 2015). We also made use of the narrative interview and the journals of the researcher and the researched as âtechniquesâ of producing data. We produced a way of reading the data which respected the singularities of the per-courses and the territories studied. The study made evident a huge production and circulation of literary printed-objects (fanzines, hand-made books, loose sheets etc.) and the difficulty of separation between screen/page as a way to promote the literary writing as well as the ways of being, making and acting of the interviewed writers â their artist-formation â to become âsons of a sheetâ.
41
Radko, A. „Ukrainian artist-painter Yevgenia Gapchinska“. Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40445.
42
Galante, Jeremy. „Time and the Narrative Artist“. Miami University Honors Theses / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1111091457.
43
Collins, Catherine R. „Sarah Bernhardt the Visual Artist“. Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1211571031.
44
Short, Scott Michael. „The artist and the institution“. The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1328288211.
45
Gamble, Matthew Dale. „An Investigation Into The Artist“. VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/57.
Annotation:
AN INVESTIGATION INTO THE ARTISTBy Matthew Dale Gamble, Master's of Fine ArtA research statement submitted in partial fulfillment of the requirements for the degree of Master's of Fine Art at Virginia Commonwealth University.Virginia Commonwealth University, 2005Committee Chair: Ruth Bolduan, Associate Professor Painting and PrintmakingIn this paper I start at the very beginning in my life and introduce the reader to my earliest surroundings, the structure of my family life and the dynamic of the individuals involved. I write about the major points of my youth and continue into adulthood, concluding the first chapter with how I came to be here. I than go into my artistic development, major role models, color theory, writings of interest, and my personal theory on art making. I finish the essay with my personal habits and outlook on my future.
46
Ternhag, Gunnar. „Hjort Anders Olsson : spelman, artist /“. Hedemora : Gidlund, 1992. http://catalogue.bnf.fr/ark:/12148/cb36682773h.
47
Too, Wing-tak Ken. „Artist colony at Green Island“. Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25954611.
48
Ketchum, Lynn G. „Carl Clapp: Arizona's Ag Artist“. College of Agriculture, University of Arizona (Tucson, AZ), 1986. http://hdl.handle.net/10150/295503.
49
Bundy, Penny J. „The playwright as scholar/artist“. Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/35836/1/35836_Bundy_1993.pdf.
Annotation:
The purpose of this project was to explore the relationship of artistic production and scholarly enquiry in my own artistic practice. A feminist practice of oral history was used to generate data about personal adoption experiences. These stories were analysed and transformed into a playscript which is presented as the Findings chapter of this thesis. The thesis articulates an understanding of the playwright as artist and scholar. It identifies the playwrighting process as a particular research methodology which in this case draws on
contemporary feminist aesthetics and epistemology.
50
Röder, Birgit. „Artists, lovers and madmen : the representation of art and the artist in E.T.A. Hoffmann's Künstlernovellen“. Thesis, University of Reading, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312332.