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1
Tingvall, Josefin. „Soft Society“. Thesis, Konstfack, Textil, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5853.
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Illustrated exam paper for Josefin Tingvalls project Soft Society. Which is about investigating through cloth and textile our urban surrounding. The core question ; if I go out in an urban area and use textile as a recordmaterial, what traces and stories will I bring back? By looking at textileas a matter, craft and as a philosophical starting point in urban areas, what can it tell about our surrounding and our society? In the three mainchapters of the paper, Tingvall reflects upon important themes such as wandering and spectating, also exhibiting of process based craft, textilein urban areas and matter-based dyes and their relation to us.Soft society
2
Lafferty, Sue Anne. „Adult arts education : a Delphi study forecasting the arts in a lifeling learning society“. The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1302028410.
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Ely, Joshua J. „Society and Science: Ancient Astronomy“. Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/31.
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Astronomy is the oldest scientific field in human history. As such, it is linked heavily with Ancient History as a central part of understanding, scientific development and cultural appreciation in the world of antiquity. The goal of this thesis will be to investigate the importance of the ancient astronomers, their discoveries, the differences in cultural understandings of the universe due to environmental and political reasons, planets and the cosmos, and the impacts their discoveries had on the ancient world.
Primary sources will be various writings and documents by ancient astronomers and philosophers such as Eratosthenes, Hipparchus, Plato and the Pythagorean concept. Also to be consulted will be ancient documents that explain the cosmos and nature of this universe from the cultural aspect of the Egyptian, Maya, Mesopotamian, and Hellenistic civilizations. Secondary sources will a variety of modern historical and scientific writings about the history of astronomy. These will include Astronomy of the Ancients by Kenneth Brecher and Michael Feirtag, Ancient Egyptian Science by Marshall Clagett, and A History of The Ancient Mathematical Astronomy by Neugebauer. Also included will be modern sources that explain astronomical events and notions.
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Weaver, Kimberly. „International Society Cosmopolitan Politics and World Society“. Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3701.
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How does the international system move from an anarchic system driven by power to a global community driven by the needs/wants of the community at large? Jürgen Habermas utilizes the tenets of his Communicative Action Theory to underline the importance of communicatively based repertoire in the international system between and among states and non-state actors and the citizens themselves. How does arguing and reasoning among states and international institutions bring together legitimization and order? My research aims to analyze the movement of the international system from anarchy towards a global civil society. In doing so, I will examine Communicative Action Theory in International Relations, in particular the development of legitimization processes in international politics, the role of state sovereignty and its effect on the legitimization process of non-state actors. I argue that underdeveloped legitimization processes at the international level consist of fragile consensus building mechanisms that explain why disagreement can and often does lead to violence. However, I also contend that the international system is moving toward a more developed global civil society.
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Zamora, Soledad. „The Role of Arts in Nordic Society: Health and Lifestyle“. Thesis, Högskolan i Halmstad, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-39035.
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The role of arts in both formal and non-formal education has been scientifically demonstrated to create positive outcomes in people to deal with all kinds of social problems in daily life. At present, there are international public and private institutions that support this view, such as the International Arts Education Week, celebrated for the first time by UNESCO on 21-27 May 2012 when not only artists participated, but also educators, researchers, NGO actors, and international associations. This provides us with a wider perspective on how arts and education can play an interdisciplinary role in society. The aim of this research is to study how arts (e.g., performative arts, literature, film) interact with and affect Nordic society; the kind of practices, contributions and challenges that exist within the cultural and educational sectors (based on three case studies) and their relationship between the government in the form of cultural policies in Denmark, Sweden and Finland in support of the well-being of the Nordic lifestyle whenever applying a wider perspective to the role of the arts in society. This qualitative study is composed of three case studies, which explore the role of arts in three Nordic institutions (two public ones and a private one): 1) The Academy of Fine Arts in Helsinki, Finland; 2) Skissernas Museum - Museum of Artistic Process and Public Art in Lund, Sweden; and 3) Louisiana Museum of Modern Art in Humbaelek, Denmark. The empirical material collected has been done through the usage of the hermeneutics—texts, semi-structured interviews of professionals (two art educators with multidisciplinary backgrounds, two art historians, and a museum guide), publications, catalogues, and active participation in cultural/educational activities in Sweden, Denmark, and Finland. The data collected is analyzed within the framework of the reflexive methodology. “The Theory of Communicative Action” by Jürgen Habermas aims to understand the multidisciplinary relationship among the artistic/educational institutions, society, and government as support for the well-being and sustainability of Nordic society. The results will reveal a multidisciplinary application of the arts as support to Nordic welfare, healthand lifestyle. The results will also show how arts can be included in people’s lifestyles in an organic manner, being a benefit for the well-being of the society and supporting the sustainability of Nordic welfare when people have a wider understanding of the application of the arts in their lives, for instance, through literature, concerts, performances, but also, attending to festivals, arts and crafts activities, gardens, parks, and even experiencing architecture.
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Boggs, James G. „Social application of the arts : making a difference through art /“. Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6177.
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Diamant, Hirsh. „Burning in the light art in education and human development /“. Full text available online (restricted access), 1998. http://images.lib.monash.edu.au/ts/theses/Diamant.pdf.
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Lafferty, Sue Anne. „Adult arts education : a Delphi study forecasting the role of the arts in a lifelong learning society /“. The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486462067842723.
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Feeney, Warren, und n/a. „The Canterbury Society of Arts 1880-1996 : conformity and dissension revisited“. University of Otago. Department of History, 2009. http://adt.otago.ac.nz./public/adt-NZDU20090226.135746.
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Established in 1880 the Canterbury Society of Arts (CSA) dominated the arts in Canterbury for nearly a century and was the most significant art society in New Zealand. This thesis examines the CSA�s history from 1880 to its change in trading name to the Centre of Contemporary Art (COCA) in 1996 when the Society sought to redefine its role. Chapter One considers its origins, comprising a discussion of the period from 1850 to 1880 in which it was founded as part of an educational complex that reflected Edward Gibbon Wakefield�s ideal for the systematic settlement of Canterbury. A discussion of the Society�s permanent collection from 1881 to 1932 in the following chapter draws attention to how the CSA was guided by its founding ambitions to promote the development of New Zealand art and accompanying responsibilities for art education. Chapter Three considers the premises and art galleries utilised by the Society from 1881 to 1932, revealing that its objectives to advance the arts remained visionary and often demanding. In Chapter Four the period between the Depression and the end of the Second World War is examined and economic and aesthetic challenges, evident in the Society�s limited capacity to purchase works for its collection, alongside the emergence of new art organisations such as the Group are discussed. This is followed by a consideration of the post-war period from the perspective of the CSA�s remarkable secretary from 1943 to 1959, William Sykes Baverstock. His response to an emerging modern movement provides a context to examine significant changes in the arts which initially posed a challenge to the CSA. Consideration of the 1960s to mid-1970s in Chapter Six reveals the vital role played by the CSA in supporting the development of contemporary New Zealand art and includes discussion of significant events and exhibitions such as the Hay�s Art Prize and the expansion of the Society�s programme to include international shows and solo exhibitions of contemporary sculpture, craft, design, and painting. It argues that these activities represented the CSA�s most ambitious and successful period in its history, symbolised by its new modernist-styled gallery which opened at 66 Gloucester Street in 1968. An examination of the late 1970s to mid-1980s in Chapter Seven demonstrates that the CSA continued to maintain its influence as a centre for contemporary arts practice. However, the demands of a greater arts professionalism championed by the Queen Elizabeth II Arts Council and accompanied by a growth in dealer galleries, meant that the CSA also became subjected to criticism and this despite its continuing capacity to expose large audiences to new and challenging arts practices. The close and long-standing relationship between the CSA and the Canterbury College School of Art is considered in Chapter Eight and the way in which this contributed to the Society�s cultural supremacy is acknowledged. The deaccession of 42 important historical works from the CSA�s permanent collection in 1995 discussed in Chapter Nine reveals the extent to which its stature had substantially changed by the 1990s. Its essentially nineteenth-century infrastructure was ultimately inappropriate for addressing new levels of arts professionalism. Chapter Ten concludes that the CSA was a visionary, and sometimes radical, arts organisation that deserves to be more carefully and generously considered. Indeed, its long history reveals a vital arts and educational institution that has made an essential but hitherto hugely underrated contribution to New Zealand�s cultural development.
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Laycock, Jolyon. „A changing role for the composer in society“. Thesis, University of York, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274517.
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Jelsma, Johan. „A bed of ochre : mortuary practices and social structure of a maritime archaic Indian society at Port au Choix, Newfoundland /“. Groningen : Rijksuniversiteit Groningen, 2000. http://dissertations.ub.rug.nl/faculties/arts/2000/j.jelsma/.
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Knight, Helena. „Collaborative value creation : how arts and business organisations create value for society“. Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/83021/.
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Since its instigation by patrons supporting struggling artists centuries ago, the relationship between arts and business has been marked by dilemmas of who benefits from the value created. The perceived self-interested regard that blighted the magnanimous acts of the pioneers of arts philanthropy has transformed into outright scepticism with the move towards "selfish capitalism" in the 1970s. Despite the financial assistance, ubiquitous in society is the perception that business exploits the arts for window dressing purposes. The thesis studies value creation through transactional collaboration, focusing on the arts context. The contradictions in the phenomenon are examined to construct an understanding of how the organisations working together can lead to societal betterment . Utilising a multi method interpretive strategy, the thesis presents a conceptual framework of the principles, manifestations and functions of the business partner in societal value creation through transactional arts and business collaboration. The thesis argues that transactional collaboration can and does generate value that can contribute to societal betterment. The stipulations relate to transactional hybrids and collaboration portfolios at the organisational level, and a co-creative response to the process of value creation of beneficiaries. Transient value and cumulative value are two distinct value modes. Cumulative value can induce sustainable societal betterment when business assumes the role of a benefits provider. Human factor and organisational learning condition cumulative societal value creation in transactional collaboration. The Thesis contributes to the literature on cross-sector collaboration. The thesis contributes to the literature on cross-sector collaboration by highlighting the importance hybrid relationships and relationship portfolios in creating societal value in transactional collaboration. It also demonstrates the beneficiary-centric standpoint is a salient factor when developing a holistic understanding of how collaboration contributes to societal betterment. As such, contributions are made to the value creation literature by showing the salience of the co-creative response of the beneficiary to the process of value creation in relational contexts. Managerial and policy implications, and future research avenues are also proposed.
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Lash, Sarah. „Singing the dream the bardic arts of the Society for Creative Anachronism /“. [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3358930.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2009.Title from PDF t.p. (viewed on Feb. 8, 2010). Source: Dissertation Abstracts International, Volume: 70-05, Section: A, page: 1745. Adviser: Henry Glassie.
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Moreno, Thobo-Carlsen Greta Daniela. „Malta: A Functional Bilingual Society. An analysis of societal and individual bilingualism“. Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21664.
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With the rich history of territorial conquest on the island of Malta, each regime has left its mark on the small archipelago, especially with each linguistic conquest, a new language was formed, influenced and fortified to what we know now as Maltese. Within this thesis we will identify the factors of these regimes which have led Malta to become a bilingual nation. This thesis investigates the Maltese language situation along with the status of the social and individual characteristics the theories of bilingualism adhere. In order to address how Malta has become a functional bilingual society, theoretical measures of both societal and individual bilingualism will be explored. The thesis applies research methodology with special participation of University students and staff from the University of Malta. Together they help bring insight in answering just how Maltese and English are encouraged in the Maltese social strata. It shows just how it is maintained individually by understanding the environmental mechanisms put in place by the Maltese government as well as how it is encouraged at home. Furthermore, it explains how the policies help the languages continue to coexist and form a functional bilingual society.
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Mallison, Theodore R. „Summit County Historical Society: A Membership Program Case Study“. University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1460121253.
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Edgar, Robert Charles. „The schlemiel and anomie : the fool in society“. Thesis, University of Hull, 2001. http://hydra.hull.ac.uk/resources/hull:3533.
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This thesis examines the character of the schlemiel in comparative Jewish and Gentile American literature and cinema. It is the central claim that whilst the schlemiel is a strong Jewish character type this figure also appears in the texts of other socio-cultural groupings to an ever increasingly degree. With this is mind the character is examined in relation to the contemporary Western world, or Postmodern society.To achieve this aim the study is divided into three sections. The first deals with traditional perspectives on the schlemiel, examining prior definitions and gives a brief historically linear overview. Key examples are given to provide `case studies' in both literature and film. The examples chosen represent those characters considered to be archetypes, specifically Hyman Kaplan and the characters created by Woody Allen. Section Two examines processes of characterisation in literature and film to investigate whether there is anything at the most basic level of the text which identifies the traits and attributes of a schlemiel or from where an audience may derive information. This section examines a range of Jewish and non-Jewish texts via Structuralist and Narratological analysis. Section Three looks at the contemporary social function of schlemiels. Even if it is possible to clearly identify what schlemiels are their socio-cultural function remains important. The character is placed in a `postmodern' context. The final chapter develops from this into looking at the function of the schlemiel as a comic character and theories of comedy.Whilst the theoretical approaches utilised are there to test the character it is inevitable that the schlemiel will test the theories. It is the irrational and illogical nature of . schlemiebthat dictates that they will have problems fitting into the rigid patterns created by any neo-Structuralist approach such as Narratology. The character also tests rationalist responses to the `Postmodern condition' and this in turn provides a critique of the Aristotelian principles of Section Two and the socio-temporal definitions of Section One. This work attempts to provide a re-evaluation of a historically entrenched character for the late twentieth century and to provide a critique of theories, which purport to provide universal answers.
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Carlson, Heidi. „Dandyism: Creating a Tradition for Consumption in London Society“. Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/319.
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Bojinov, Jivco. „Democracy in Eastern Europe: society, government, and economy“. Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1361.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Sciences
Political Science
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Spławski, Piotr. „Japonisme in Polish pictorial arts (1885-1939)“. Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/6205/.
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This thesis chronicles the development of Polish Japonisme between 1885 and 1939. It focuses mainly on painting and graphic arts, and selected aspects of photography, design and architecture. Appropriation from Japanese sources triggered the articulation of new visual and conceptual languages which helped forge new art and art educational paradigms that would define the modern age. Starting with Polish fin-de-siècle Japonisme, it examines the role of Western European artistic centres, mainly Paris, in the initial dissemination of Japonisme in Poland, and considers the exceptional case of Julian Fałat, who had first-hand experience of Japan. The second phase of Polish Japonisme (1901-1918) was nourished on local, mostly Cracovian, infrastructure put in place by the ‘godfather’ of Polish Japonisme Feliks Manggha Jasieński. His pro-Japonisme agency is discussed at length. Considerable attention is given to the political incentive provided by the outbreak of the Russo-Japanese war in 1904, which rendered Japan as Poland’s ally against its Russian oppressor. The first two decades of the 20th century are regarded as the ‘Renaissance’ of Japonisme in Poland, and it is this part of the thesis that explores Japanese inspirations as manifested in the genres of portraiture, still life, landscape, representations of flora and fauna, erotic imagery, and caricature. Japonisme in graphic and applied graphic arts, including the poster, is also discussed. The existence of the taste for Japanese art in the West after 1918 is less readily acknowledged than that of the preceding decades. The third phase of Polish Japonisme (1919-1939) helps challenge the tacit conviction that Japanese art stopped functioning as an inspirational force around 1918. This part of the thesis examines the nationalisation of heretofore private resources of Japanese art in Cracow and Warsaw, and the inauguration of official cultural exchange between Poland and Japan. Polish Japonisme within École de Paris, both before 1918 and thereafter, inspired mainly by the painting of Foujita Tsuguharu, is an entirely new contribution to the field. Although Japanese inspirations frequently appeared in Polish painting of the interwar period, it was the graphic arts that became most receptive to the Japanese aesthetic at that time. The thesis includes a case study of Leon Wyczółkowski’s interbellum Japonisme, and interprets it as patriotic transpositions of the work of Hiroshige and the Japanese genre of meisho-e. Japonisme in Polish design and architecture is addressed only in the context of the creation of Polish national style in design (1901-1939). Art schools in Britain and America became important centres for Japonisme at the beginning of the 20th century. The thesis considers the case of Cracow Academy of Fine Arts, which due to radical changes introduced by its new director Julian Fałat, became an important centre for the dissemination of the taste for Japanese art in Poland.
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Esporrín, Pons Maria Montserrat. „Societat i espectacles musicals a Barcelona (1881-1936)“. Doctoral thesis, Universitat Rovira i Virgili, 2016. http://hdl.handle.net/10803/399567.
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En aquest estudi, emmarcat entre finals del s. XIX fins abans de la Guerra Civil, volem analitzar la relació que hi ha entre la societat barcelonina i els espectacles musicals als quals assistirà. Partim de la base que ens trobem dins d’un període convuls pel replantejament de les idees i els valors, fet que no solament trasbalsarà la vida quotidiana d’aquesta societat, sinó que també es farà patent un canvi que desembocarà en la creació de nous locals d’oci i diversió, els quals oferiran espectacles més d’acord amb la nova forma de pensar i viure i també més adients als gustos musicals i, en general, artístics que aquesta societat demana; tot això sota la influència de les noves tendències artístiques que marcarà París. També els estils musicals seran diferents, perquè harmonies trencadores provinents del Nou Continent confluiran a Europa i canviaran l’estètica musical fins llavors existent. Amb tot, volem arribar a demostrar que aquesta marea pertorbadora dins de l’àmbit social i musical acabarà interrelacionant-se i fusionant-se amb els models artístics ja existents, dels quals en sortirà una concepció musical nova, sense oblidar allò que anomenem “clàssic”.El principal objetivo del presente estudio consiste en analizar la relación existente entre la sociedad barcelonesa y los espectáculos musicales a los que ésta asistirá, dentro del período de tiempo comprendido entre finales del s. XIX y el inicio de la Guerra Civil española. Se trata de un período convulso debido a un replanteamiento de las ideas y valores existentes y que, no solamente trastocará la vida cotidiana de esta sociedad sino que también se hará patente en la creación de nuevos locales de ocio y diversión que ofrecerán espectáculos que estarán más en consonancia con las nuevas formas de pensar y vivir y, también, con los gustos musicales y artísticos que la sociedad demanda. Todo ello bajo la influencia de las nuevas tendencias artísticas que marcará, principalmente, París. También los estilos musicales serán diferentes debido a armonías transgresoras que provendrán del Nuevo Continente; que confluirán en Europa y que cambiarán la estética musical predominante. En definitiva, se quiere llegar a demostrar que esta marea perturbadora, en el ámbito social y musical, acabará interrelacionándose y fusionándose con los modelos artísticos ya existentes, dando lugar a una nueva concepción musical sin, por ello, olvidar lo que se consideraba como “clásico”.
This study from the late nineteenth century to right before the outbreak of the Civil War aims to analyse the relationship between Barcelonese society and the musical performances they attended. It must be borne in mind that this is a particularly turbulent period marked by the reconsideration of existing ideas and values. Not only did these changes have a deep impact on the day-to-day life of Barcelonese society, but they also paved the way for the emergence of new leisure and entertainment venues which hosted shows more in line with a new way of thinking and living, and which met the musical, and more generally, the artistic demand of society. And all under the influence of new artistic trends determined by Paris. Musical styles changed because ground-breaking harmonies from the New World amalgamated in Europe, thus reshaping existing musical aesthetics. This study attempts to prove that this disruptive wave in the social and musical scene eventually interacted and merged with existing artistic models, resulting in a new musical conception, without putting aside what is considered ‘classic’.
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Tanner, Jeremy James. „The invention of art history : religion, society and artistic differentiation in ancient Greece“. Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296707.
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Armfield, Maris Margaret Doris. „Art and society in Ulm 1377-1530“. Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3669/.
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The imperial city of Ulm in southwest Germany was one of the largest in the country during the Middle Ages, and one of four important centres in the Swabian region. In the fourteenth and fifteenth centuries the region was characterised by a large number of towns and cities, especially imperial cities, most of which lay south of the Swabian Alps, in Upper Swabia. For their protection the towns formed into the Swabian League of which Ulm had leadership until the latter part of the fifteenth century. The League restrained the ambitions of emperor and the princes, and effectively maintained relatively peaceful conditions in the region for most of the fifteenth century. The cities relied largely on trade, shipping iron, salt, meat and grain from eastern areas into the southwest for distribution. There was also a vast textile industry, producing woollen cloths and fustian, or barchent, with a mixture of cotton and linen. Wool and flax were produced locally, while cotton was brought from Venice, and finished cloth distributed throughout Europe. This led to the rise of family merchant companies that handled import, export, distribution, and in some cases production. Familial networks were key. Such networks were also fundamental for craft communities throughout the region and artisans frequently moved to train or work. As a large centre, Ulm produced much sculpture and painting with production peaking during the second half of the fifteenth century, resulting in an extensive export market. As with all imperial cities, Ulm relied on its relationship with the empire for its ability to function, politically and economically. Largely because of its wealth, it gained a high level of autonomy, which it used to acquire an extensive territorial area, and to secure authority over the parish, its church, and local foundations. Of fundamental importance was the parish church of Our Lady, which was relocated into the heart of the commercial area of the city and rebuilt on a massive scale signalling the might of the town. The renewed importance of Our Lady encouraged endowments and gifts, and helped secure the authority of the patriciate, especially the Krafft family. In the face of guild uprisings during the fourteenth century, the patriciate of Ulm was a particularly closed type and social demarcation was rigorously practised. Inter-marriage with a select group of traders, however, resulted in a ruling body that effectively developed into an oligarchy, despite substantial guild representation on the civic council. A small group held power over many years and most aspects of everyday living were closely regulated and policed. Artistic styles and developments reflected this stable, yet rather restricted climate. Change was adopted with caution. But, arguably, styles also reflected wider regional trends that, to an extent, might be classed as traditionally Swabian. The characteristic regional style might also have been linked to mysticism and pious practices amongst female religious that had filtered into civic life. As vibrant commercial centres, the cities were conscious of a communal responsibility. Ultimately, this somewhat conservative attitude led to a shift in artistic production during the last decade of the fifteenth and into the sixteenth century. Ulm was unable to keep pace with wider political and commercial developments, and in certain ways Ulm did not provide artists with the conditions necessary to fully exploit their talents.
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Matias, J. Nathan (Jorge Nathan). „Governing human and machine behavior in an experimenting society“. Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/112527.
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Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2017.Cataloged from PDF version of thesis.
Includes bibliographical references.
We live in a culture that depends on technologies to record our behavior and coordinate our actions with billions of other connected people. In this computational culture, humans and machines continue to perpetuate deep-seated injustices. Our abilities to observe and intervene in other people's lives also allow us to govern, forcing us to ask how to govern wisely and who should be responsible. In this dissertation, I argue that to govern wisely, we need to remake large-scale social experiments to follow values of democracy. Using qualitative and quantitative methods, I spent time with hundreds of communities on the social news platform reddit and learned how they govern themselves. I designed CivilServant, novel experimentation software that communities have used to evaluate how they govern harassment and misinformation. Finally, I examined the uses of this evidence in community policy deliberation. As we develop ways to govern behavior through technology platforms, we have an opportunity to ensure that that the benefits will be enjoyed, questioned, and validated widely in an open society. Despite common views of social experiments as scarce knowledge that consolidates the power of experts, I show how community experiments can scale policy evaluation and expand public influence on the governance of human and machine behavior.
by J. Nathan Matias.
Ph. D.
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Kinsella, Sharon. „Editors, artists and the changing status of manga in Japanese society, 1986-1995“. Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:4c437028-f0e3-4c00-915a-1e151d7e89db.
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The contemporary Japanese manga industry began in 1959 when the first weekly manga magazines were published. Throughout the 1960s publishing companies attracted a large adult readership by incorporating radical political themes and realistic drawing styles in manga magazines. The readership continued to expand throughout the 1970s and 1980s and manga became a mass medium on a similar scale to television or pop-music. This thesis identifies two distinct trends in the cultural status of manga which were developing from the mid-1980s onwards. On the one hand, what had previously been seen as 'commercial' manga became respected as an 'art' form and highbrow communication medium. On the other, manga was vilified as pornography and as the extreme expression of an increasingly fragmented society. In the former trend, prestigious corporations sponsored a new category of 'information' manga, whilst in the latter, 'girls' and 'otaku' manga genres were censured by a quasi-governmental censorship movement. The amateur manga subculture in particular became the focus of a 'moral panic' where those involved were characterised as isolated and socially dysfunctional. This thesis, based on ten months' participant observation and intensive interviews in 'Morning' manga magazine editorial office in 1994, examines how this editorial was influenced by the changing status of manga in Japanese society in the formulation of its editorial policy and production methods. Editors felt that in the 1990s social changes presented the manga industry with serious production problems - in particular, a dearth of 'good' artists who could produce social themes, and a shrinking readership. Morning editorial attempted to overcome these problems by pioneering a new form of artistic, high-quality and respectable adult manga, aimed at older and more socially-elite readers. By creating a new proactive intellectual role for manga editors at the same time as sponsoring experimental graphic styles, Morning editorial produced a distinctive new form of conservative, state-supporting social and political adult manga. The re-definition of specific genres of manga as 'art' by Japanese institutions was paralleled by changes in commercial manga production which privileged the social and intellectual interests of editors over those of readers and artists. This study concludes that editors have become increasingly impo7tant in manga production between 1986 and 1995, and that there is a tight interrelationship between commercial cultural production and broader cultural and social discourses generally.
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Smith, John Arthur. „An analytic sociology of art : art and society and the origins of modernist painting“. Thesis, Goldsmiths College (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286130.
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26
Batchelder, Xela. „The world's largest arts festival, The Edinburgh Festival Fringe: mechanics, myth and management“. The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1149104422.
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Staples, Adam. „A visual arts transformative learning practice in the aesthetic re-imagining of contemporary society“. Thesis, Australian Catholic University, 2016. https://acuresearchbank.acu.edu.au/download/e39eefa0ec5ac33f1d8289d1fd5b64815c4089635bbabd866ac3bb57c2d04973/16546900/Staples_2016_A_visual_arts_transformative_learning_practice.pdf.
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This thesis is located in the areas of arts education, visual arts learning and society formation. The aims of the study were to undertake an analytical, empirical and conceptual study of the relationship between learning in the visual arts and contemporary society formation; to clarify the conceptual, policy, professional and practical issues relevant to the role of learning in the visual arts in stimulating learning and promoting contemporary society formation in a time of societal transition and change; and to generate theory and develop recommendations for theory, research, policy and practice. The study began with an examination of literature pertaining to the social, cultural and educational contexts of the study, with particular reference to Australia’s diversity, government policies relevant to culture and the arts, and to visual arts education and learning. This qualitative research study adopted an evolutionary epistemology and a meta-theoretical perspective based upon interpretivism. A Grounded Theory Method approach to data gathering and theory development was chosen. There were two distinct stages to the study. Data were gathered initially from teachers and secondary school students and then from a range of artists, senior arts administrators and visual arts educators. Two core categories were identified in the findings of the study. The first core category, Visual Arts Transformative Learning: Something Different and Significant, showed how learning in the visual arts can transform young people’s understanding of self, others and society and how learning in the visual arts itself can be transformed as a mode of learning. Such a transformative and transformed mode of learning can provide something different and significant both in stimulating learning and in contributing to society formation in a time of societal transition and change. The second core category, Re-Imagining Contemporary Society: The Distinctiveness of a Visual Arts Practice, based on data gathered from senior arts advocates, confirmed the relationship between visual arts learning and contemporary society formation, in particular the distinctive manner and form in which a visual arts practice might enable contemporary society to be re-imagined. The emergence of the substantive theory generated in this study, and the manner in which it addresses the central question of the nature of the relationship between learning in the visual arts and contemporary society, was assisted by reference to the metaphor of the loom, the warp and the weft, derived from the craft of weaving. From the examination of the findings, the substantive theory and the analysis of the relationship between the theory and the practice (practical wisdom) generated in this thesis, recommendations were put forward for the advancement of theory, research, policy and practice addressing a visual arts transformative learning practice and the aesthetic re-imagining of contemporary society.
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McEwan, Celina. „Investing in play expectations, dependencies and power in Australian practices of community cultural development /“. Connect to full text, 2008. http://hdl.handle.net/2123/3680.
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Thesis (Ph. D.)--University of Sydney, 2008.Title from title screen (viewed Apr. 9, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Performance Studies, Faculty of Arts. Includes bibliographical references. Also available in print form.
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Shin, Hyesun. „Promoting Trust Building in a Unified Korean Society: The Arts-based Policy Strategy for Social Cohesion“. The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420676940.
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Chen, Marilyn. „Searching for a Place to Belong: Androgyny in a Gender Binary Society“. Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/746.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfBachelors
Arts and Sciences
Psychology
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Richards, Michael John. „Arts Facilitation and Creative Community Culture: A Study of Queensland Arts Council“. Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16036/1/Michael_Richards_Thesis.pdf.
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This thesis adopts a Cultural Industries framework to examine how Queensland's arts
council network has, through the provision of arts products and services, contributed
to the vitality, health and sustainability of Queensland's regional communities. It
charts the history of the network, its configuration and impact since 1961, with
particular focus on the years 2001 - 2004, envisages future trends, and provides an
analysis of key issues which may be used to guide future policies and programs.
Analysis is guided by a Cultural Industries understanding of the arts embedded in
everyday life, and views the arts as a range of activities which, by virtue of their
aesthetic and symbolic dimensions, enhance human existence through their impact
on both the quality and style of human life. Benefits include enhanced leisure and
entertainment options, and educational, social, health, personal growth, and
economic outcomes, and other indirect benefits which enrich environment and
lifestyle.
Queensland Arts Council (QAC) and its network of branches has been a dominant
factor in the evolution of Queensland's cultural environment since the middle of the
20th century. Across the state, branches became the public face of the arts, drove
cultural agendas, initiated and managed activities, advised governments, wrote
cultural policies, lobbied, raised funds and laboured to realise cultural facilities and
infrastructure.
In the early years of the 21st century, QAC operates within a complex, competitive
and rapidly changing environment in which orthodox views of development,
oriented in terms of a left / right, or bottom up / top down dichotomy, are breaking
down, and new convergent models emerge. These new models recognise synergies
between artistic, social, economic and political agendas, and unite and energise them
in the realm of civil society. QAC is responding by refocusing policies and programs
to embrace these new models and by developing new modes of community
engagement and arts facilitation.
In 1999, a major restructure of the arts council network saw suffragan branches
become autonomous Local Arts Councils (LACs), analogous to local Cultural
Industry support organisations. The resulting network of affiliated LACs provides a
potentially highly effective mechanism for the delivery of arts related products and
services, the decentralisation of cultural production, and the nurturing across the state
of Creative Community Cultures which equip communities, more than any other
single asset, to survive and prosper through an era of unsettling and relentless
change.
Historical, demographic, behavioural (participation), and attitudinal data are
combined to provide a picture of arts councils in seven case study sites, and across
the network. Typical arts council members are characterised as omnivorous cultural
consumers and members of a knowledge class, and the leadership of dedicated
community minded people is identified as the single most critical factor determining
the extent of an LAC's activities and its impact on community.
Analysis of key issues leads to formulation of eight observations, discussed with
reference to QAC and LACs, which might guide navigation in the regional arts field.
These observations are then reformulated as Eight Principles Of Effective Regional
Arts Facilitation, which provide a framework against which we might evaluate arts
policy and practice.
32
Richards, Michael John. „Arts Facilitation and Creative Community Culture: A Study of Queensland Arts Council“. Queensland University of Technology, 2005. http://eprints.qut.edu.au/16036/.
Der volle Inhalt der QuelleAnnotation:
This thesis adopts a Cultural Industries framework to examine how Queensland's arts council network has, through the provision of arts products and services, contributed to the vitality, health and sustainability of Queensland's regional communities. It charts the history of the network, its configuration and impact since 1961, with particular focus on the years 2001 - 2004, envisages future trends, and provides an analysis of key issues which may be used to guide future policies and programs. Analysis is guided by a Cultural Industries understanding of the arts embedded in everyday life, and views the arts as a range of activities which, by virtue of their aesthetic and symbolic dimensions, enhance human existence through their impact on both the quality and style of human life. Benefits include enhanced leisure and entertainment options, and educational, social, health, personal growth, and economic outcomes, and other indirect benefits which enrich environment and lifestyle. Queensland Arts Council (QAC) and its network of branches has been a dominant factor in the evolution of Queensland's cultural environment since the middle of the 20th century. Across the state, branches became the public face of the arts, drove cultural agendas, initiated and managed activities, advised governments, wrote cultural policies, lobbied, raised funds and laboured to realise cultural facilities and infrastructure. In the early years of the 21st century, QAC operates within a complex, competitive and rapidly changing environment in which orthodox views of development, oriented in terms of a left / right, or bottom up / top down dichotomy, are breaking down, and new convergent models emerge. These new models recognise synergies between artistic, social, economic and political agendas, and unite and energise them in the realm of civil society. QAC is responding by refocusing policies and programs to embrace these new models and by developing new modes of community engagement and arts facilitation. In 1999, a major restructure of the arts council network saw suffragan branches become autonomous Local Arts Councils (LACs), analogous to local Cultural Industry support organisations. The resulting network of affiliated LACs provides a potentially highly effective mechanism for the delivery of arts related products and services, the decentralisation of cultural production, and the nurturing across the state of Creative Community Cultures which equip communities, more than any other single asset, to survive and prosper through an era of unsettling and relentless change. Historical, demographic, behavioural (participation), and attitudinal data are combined to provide a picture of arts councils in seven case study sites, and across the network. Typical arts council members are characterised as omnivorous cultural consumers and members of a knowledge class, and the leadership of dedicated community minded people is identified as the single most critical factor determining the extent of an LAC's activities and its impact on community. Analysis of key issues leads to formulation of eight observations, discussed with reference to QAC and LACs, which might guide navigation in the regional arts field. These observations are then reformulated as Eight Principles Of Effective Regional Arts Facilitation, which provide a framework against which we might evaluate arts policy and practice.
33
Paskins, M. „Sentimental industry : the Society of Arts and the encouragement of public useful knowledge, 1754-1848“. Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1449256/.
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This thesis offers a reinterpretation of the activities of the Society for the Encouragement of Arts, Manufactures and Commerce, an economic society founded in London in 1754. Previous histories of the Society have attempted to accommodate it within normative accounts of industrial development; or have celebrated its philanthropic intentions; or have focused on one aspect of its multifarious activities. I argue that the Society should be interpreted as a place where a wide-ranging public ethos and the promotion of public knowledge were meant to coexist. This meant a collision between an ethos of gentlemanly many-mindedness and the particular interests of individual trades, fraught negotiations about the question of the public, and involvement in practices of natural knowledge which were intended to render tacit knowledge explicit. How far any of this activity actually encouraged manufactures or commerce is debatable: nevertheless, the Society offers a vantage point from which we can see the difficulty of coordinating and aggregating local exemplary achievements and inventions. Individual chapters consider the Society's efforts in the fields of mechanics, import substitution, agriculture, and tree planting.
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Sin, Song-Chiew James, University of Western Sydney und of Performance Fine Arts and Design Faculty. „Arts, culture and museum development in Singapore“. THESIS_FPFAD_XXX_SinSongChiew_ J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/240.
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This thesis discusses some aspects of the exhibition designer's role in state museums and galleries. It draws on the author's experiences in Singapore and his observations as a student living in Sydney. Museum exhibition designers are servants of the state. They help create public culture and promote a version of history. But if one is to understand the ways in which designers create meaning (and serve their employer's interests) we need to identify the 'vocabulary' and 'grammar' that they have at their disposal. To this end, the thesis outlines the variables that they work with and argues that they need to understand their employer's ideologies and history. The design vocabulary and grammar that the exhibition designer works with to create meaning in bridging understanding needs to be commensurate with the knowledge of history and the primary ideologies of the state which he/she serves. Singapore's recent interest in arts and heritage museums as part of a larger desire for regional economic and cultural survival and pre-eminence needs to be identified with the evolution, interconnectedness and ambitions of Singapore's arts and cultural organisations. In conjunction, some of the implications of Singapore's Arts and Heritage Policy need to be unpacked. A brief but concise comparative history of Sydney, Australia is made for the arts, cultural and museum comparison between Australia and Singapore. The exhibition designer's vocabulary and grammar can then be used to evaluate four exhibitions in Sydney and Singapore. This dissertation addresses the issues of 'Asian-ness' , modernisation without westernisation and the state's desire to meet the challenges which global communication systems place upon Singapore citizen's welfare. The dissertation is very art focused. It discusses all display objects as though they were paintings and works of fine artMaster of Arts (Hons)
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Cooper, 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.
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This thesis acknowledges the current situation of political unrest in Hong Kong and examines the volatile horizons that began to emerge from late 2014, while also understanding those that came before. The thesis unpacks the relationships between art, architecture and society and their significance in relation to Hong Kong. Through highlighting and identifying the potential restrictions and examining and responding to the legacy and logic of Occupy Central, this thesis proposes an expansion of the space of possibilities for art in Hong Kong.The interweaving of diverse subjects are part of an intersectional methodology. The frequent changing of artists, locations and subjects have evolved out of the geopolitical situation that this author was embedded within and the architectural conditions under consideration in the research. By using techniques of close analysis and interviews, unpacking existing relationships, creating new temporary relationships (intersectionality) through exhibitions, reports, site visits and experimental curatorial strategies within the city, this thesis articulates the positions and subjectivities that can form around an artwork and its communities of production. This thesis navigates the haunted spaces concealed by ideological barriers, exposing varying sites of production and tensions through time and place. Research examines and proposes new ideas and approaches to art and art-working in Hong Kong while considering the marginalised, alienated and the xeno. Through highlighting a hitherto absent sense of commonality between the government and its subjects and exploring all corners of the political spectrum, the research critically examines the roots of ideological logic as expressed in the city-form and sets out to expand the space of possibilities.
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Rowley, Ben. „Festival or carnival? : the 2002 Adelaide Festival of the Arts and cultural activism /“. Title page/ table of contents only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arr8838.pdf.
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Stone, Mitzi R. „Beyond misogyny : Penelope and Clytaemnestra as paradigms for society“. Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/305.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Humanities
38
Snowball, Jen. „Towards more accurate measurement of the value of the arts to society: economic impact and willingness to pay studies at the Standard Bank National Arts Festival“. Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1002672.
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The accurate measurement of the value of the arts to society is becoming increasingly important in developing countries, like South Africa, where the arts must compete with housing, health, education and the like for public funds. Motivation for the public funding of arts events, like the Standard Bank National Arts Festival in Grahamstown, is usually based on the economic impact, that is, the financial benefits to the region, of such events. The argument is problematic, however, because the primary recipients of such economic benefits are often middle to upper income groups who also attend more arts performances. Furthermore, the studies have not taken into account the positive externalities which, it is argued, are generated by the arts and are enjoyed by attenders and non attenders alike. This thesis argues that it is the social benefits which the arts provide, those external to the market, which should be the basis of public funding. In order to quantify these positive externalities, a willingness to pay (WTP) study was conducted in the Grahamstown region. It is generally, but erroneously, believed that the Festival does not benefit the poorer, largely black, Grahamstown East residents. The study found that, in addition to the economic value (R23 - 25 million a year), the non-market benefits which the festival provides are worth between R2.3 and R3 million a year and form a very important part of its value, particularly to low income groups. The study also found that there are methodological adjustments which can be made to WTP studies to successfully control for the many forms of bias it is prone to. By using a combination of closed and open ended and liable and non-liable questions, the motivation of respondents' answers to WTP questions was determined, making it possible to adjust for bias caused by, for example, "free rider" and "warm glow" responses. It is argued that by identifying and excluding such responses from WTP surveys, it is possible to reduce bias to an acceptable level.
39
Crumb, Linda White. „A study of the projected functioning of students in society from an interdisciplinary liberal arts program /“. Full-text version available from OU Domain via ProQuest Digital Dissertations, 1986.
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40
Drege, Lance M. „The University of Oklahoma Percussion Ensemble Commissioning Series and Percussion Press, 1978-1999 : an examination of its history /“. Full-text version available from OU Domain via ProQuest Digital Dissertations, 2000.
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41
Wood, Derek. „“Art had almost left them:” Les Cenelles Society of Arts and Letters, The Dillard Project, and the Legacy of Afro-Creole Arts in New Orleans“. ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2202.
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In 1942, in New Orleans a group of intellectual and artistic African-Americans, led by Marcus B. Christian, formed an art club named Les Cenelles Society of Arts and Letters. Les Cenelles members both looked to New Orleans’s Afro-Creole population as the pinnacle of African American artistic achievements and used their example as a model for artists who sought to effect social change. Many of the members of Les Cenelles wrote for the Louisiana Federal Writers’ Program (FWP). A key strategy the members of Les Cenelles used to accomplish their goals was gaining the support of white civic leaders, in particular Lyle Saxon. Christian and Saxon’s relationship was unusual in the 1940s Jim Crow era in the sense that it was built upon mutual respect and admiration. This thesis examines both the efforts of Les Cenelles and the black division of the FWP, as well as Christian and Saxon’s relationship.
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Landis, Tamra R. „How a Successful Collecting Society Can Transform an Art Museum: A History of The Georgia Welles Apollo Society at the Toledo Museum of Art“. Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522759729069838.
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Scammell, Jennifer F. „Domesticating the Virgin : vernacular depictions of Mary and their reception in late medieval society“. Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1894/.
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This thesis is concerned with the didactic function of fourteenth- and fifteenth-century vernacular religious literature and art in contemporary medieval English society, and particularly the ways in which texts and images participate in emergent lay religious culture and inform social practices of the time. The focus is on apocryphal and legendary depictions of episodes in the Life of the Virgin Mary in vernacular works of the later Middle Ages and special consideration is given to the ways in which certain female audiences in England may have received and responded to Mary narratives. An introductory chapter outlines the process and means by which biblical and extra-biblical knowledge was disseminated to the late medieval laity via the range of literary and pictorial material brought into comparison in this thesis. Additionally, the introductory chapter surveys existing research on the socio-economic and spiritual circumstances that made accounts of Mary’s life particularly useful to ‘merchant-class’ wives whose way of life, it is argued, is emblematic of change in the period. Five central chapters each provide interpretations of common motifs in a key event in Christian history involving Mary and assess their engagement with the experiences and aspirations of lay unlearned audiences, primarily (though not exclusively) domesticated bourgeois women. The events referred to and discussed in chronological order in this thesis are the Annunciation, Nativity, Passion of Christ, and the Death, Assumption and Coronation of Mary. The material analysed comprises biblical drama, sermons, poetry, lyrics, wall-paintings, manuscript illustrations, and tapestries. A number of core works are referred to throughout and, as detailed in the introduction, include texts such as the four extant mystery cycle plays, Nicholas Love’s Mirror, John Mirk’s Festial, the Cursor Mundi, and art works such as contained in the Biblia Pauperum, and books of hours.
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Merz, Alissa. „BigPharmaSlut Using Social Media to Encourage Vulnerability & Positive Behavioral Health Changes in Society“. Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1266.
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My original, web-based, digital media project is an Instagram account that offers an honest dialogue about personal experiences with mental health, recovery, and pharmaceuticals. The account @bigpharmaslut provides a first hand account of my journey through the process of finding an anti-anxiety/anti-depression medication that works for me. I use the word slut ironically to describe my dependent relationship with pharmaceuticals and highlight the fact that both the concept of sluts and the insidious mechanisms of pharmaceutical industry have been constructed by society. @bigpharmaslut does not promote or idolize the use of pharmaceuticals, but it is also not engaging in or endorsing pill-shaming—for me, it is about transparency and sharing information.
This installation documents and explores my year-long breakup, as I like to call it, with Paxil.
“Paxil, which also goes by the generic name paroxetine, is a common type of antidepressant classified as a selective serotonin reuptake inhibitor (SSRI). It’s considered non-addictive by both the medical community and the federal government. Patients who stop taking the drug still experience withdrawal symptoms referred to as discontinuation syndrome.”
The FDA now warns patients that withdrawal from paroxetine can be severe. Paxil has received more than 40 warnings from drug regulatory agencies in seven countries, including warnings in Australia about an increase in death rates among female Paxil users. The United States issued a public health warning about Paxil’s risk for inducing serotonin syndrome. This condition can cause hallucinations and hypertensive crisis, and in some cases, be fatal.
45
Rodriguez-Remedi, Alejandra. „The arts as a means of cultural integration : a Chilean case study“. Thesis, Robert Gordon University, 2007. http://hdl.handle.net/10059/231.
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How might the arts help to unveil and integrate realities so as to facilitate shared meanings and understandings between peoples and thus generate the conditions for the participatory, creative cultural diversity which may contribute to the construction of more democratic societies? Taking contemporary Chile as its case study, this research delves into the potential of the arts to mirror and integrate fragmented sectors in a society’s drive towards human development. To this end, it uses an interdisciplinary methodology comprising complementary empirical and theoretical approaches so as to investigate the arts as transcultural formative experiences. The former entails a comparative analysis of two groups of Chilean artists (one group in exile in Britain, the other resident in Chile) through data obtained primarily via in-depth interviews. The theoretical approach contextualises and universally grounds these social actors’ discourses in order to identify commonalities which may bind both groups together. The thesis addresses the question of how these artists make art to construct, mediate and sustain meanings, senses of belongings and humanising spaces for transformative learning, exchange and integration in society, giving valuable insights into subjective as well as collective processes of identity construction in the era of globalisation. The findings take the shape of a written text following the logic of the categories emerging from the artists’ narratives, together with a series of video projects - an emergent outcome of the research. This research is situated at the junctures of critical, cultural and educational theory. It is of interest to cultural policymakers as well as scholars of contemporary art theory, social history, political philosophy, Latin Americanism, exilic narratives and the poetics of the audiovisual.
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Ford, Norman Jackson. „Traversing Hong Kong strategies of representation and resistance in lens-based media /“. Thesis, Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B35807398.
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Anderson, Patrick Martin Luther Jr. „Quarter life crisis or how to get over college and become a functioning member of society“. Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4839.
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As a writer, I feel like dealing with conflict in real life is the best way to deal with conflict in my fiction. Quarter-Life Crisis or How to Get Over College and Become a Functioning Member of Society, while a fictional novel, is very much about many of the conflicts I've experienced over the past few years. Sean Easton is a twenty-five year old college graduate living in Miami, trying to balance out his life in a world that doesn't make as much sense to him as it did when he first graduated college, happy and looking forward to the future. Suffering through the aftermath of a major breakup as well as the death of his best friend, Sean is in the midst of a year-long alcohol binge when we are introduced to him, a period of time characterized by sporadic bouts of self-loathing interlaced with sardonic internal dialogue directed towards the world at large. Sean's story eventually intersects with the second protagonist in Quarter Life Crisis, Lauren Ellis. Lauren is a twenty-four year old college dropout turned pharmacy technician. When we are introduced to her, Lauren's life is characterized by her child--Justin--and her husband Rick. Rick's a mechanic, and he, Lauren, and their son are all living a comfortably mundane life until the day Lauren comes home to find Rick having sex with eighteen year old Natalie, Justin's babysitter. From there, Lauren's entire life is thrown into disarray, forcing her to confront desires and dreams she had previously filed away in the mental category of "lost." Together, Sean and Lauren represent a large portion of our society, a generation of individuals entering their mid- and late-twenties in the new millennium. Many of them have been told to dream big and aim high throughout their entire lives, that the next four years will be the best of their lives. And then the next four years. A few of us fulfill these dreams.; Most don't, and in a time when acquiring a college degree has become more an expectation than an accomplishment, Sean Easton and Lauren Ellis are two of many that are defined by their uncertainty as to where their place in society is. Quarter Life Crisis follows their journey from complete uncertainty to little less uncertain, bringing their lifelong dreams into direct conflict with what they are actually capable of achieving. Though the circumstances of Sean and Lauren's shifts in character are both distinct, their mentality and outlook on love and life are similar. In the end, they both find a balance that gives them hope for happiness which, they both realize, is the most they can really get in the long run. The underlying theme of Quarter Life Crisis or How to Get Over College and Become a Functioning Member of Society is that college has become a fixture in American upbringing. The novel isn't saying this is a good or bad thing, just that it is something that hangs over everybody in the current generation's heads growing up, whether they attend college or not. The novel is an attempt to examine how people function in the new millennium after reaching the point in their life when college is no longer a factor, when they are thrown into the real world and told to fend for themselves. It's the story of how two people end up doing exactly that, and the hellish process they go through to get to that point.ID: 030423476; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.
M.F.A.
Masters
English
Arts and Humanities
48
Scholtz, Brink. „'The Most Amazing Show': performative interactions with postelection South African society and culture“. Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/57527.
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This research investigates contemporary South African performance within the context of prominent social and cultural change following the political transition from an apartheid state to democracy. Specifically, it looks at the relationship between a popular comic variety show The Most Amazing Show (TMAS), and aspects of contemporary South African society and culture, particularly relating to prominent efforts to affect post-election transformation of South African society and culture through the construction of a South African 'rainbow nation'. By analysing TMAS in terms of broader historical, performative and discursive contexts, it engages a relational reading of the performance. The study argues that TMAS both challenges and participates in the manner in which rainbow nation discourse constructs South African society and culture. Firstly, it considers the performance's construction of hybrid South African identities, including white Afrikaans, white English and white masculine identities. It argues that these reconstructions undermine the tendency within rainbow nation discourse to construct cultural hybridity in terms of stereotypically distinct identities. Secondly, it considers TMAS' construction of collective experience and social integration, which subvet1s the often glamorised and superficial representations of social healing and integration that are constructed within rainbow nation discourse. The analysis makes prominent reference to the notion of 'liminality' in order to describe the manner in which TMAS constructs significance within the tension that it establishes between oppositional, and often contradictory, positions. Furthermore, it attempts to establish a link between this notion of liminality and no6ons of theatrical syncretism that are prominent in contemporary South African theatre scholarship, and emphasise processes of signification that are constantly shifting and unstable.
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Gates, Jillian Marie. „Aesthetics for Visual Arts in Hospitals“. Thesis, The University of Sydney, 2009. http://hdl.handle.net/2123/7354.
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The impetus for Aesthetics for Art in Hospitals emerged from my first waiting experiences in hospitals whilst being well, from my first pregnancy check ups ten years ago, accompanying my children to our doctor’s surgery, and later, sitting with my mother in palliative care; I was acutely aware of the lack of thought and organisation behind the display of visual imagery and signage in hospital waiting rooms. As an artist, I wondered who decides what images will be displayed in waiting areas of health clinics and hospitals. This idea gradually developed from 2005 when I attended the Arts Health and Humanities Conference in Newcastle, and realised that patient’s perspectives regarding aesthetics appeared to be overlooked. It was from this point that this inquiry became a research project that led me to the University of Sydney and in particular to The Sydney College of the Arts and the Medical Humanities Unit. This thesis is the outcome of this original inquiry and examines the questions, how can visual arts be received in hospitals? and how does western society represent illness and death? These questions explores how patients, their family members, and carers respond to art in hospitals, while acknowledging their discomfort experienced in hospital settings. This inquiry took the form of a comparative case study between Balmain and Wyong Hospitals, NSW, Australia. The aim of the study was to produce a reflective and empathetic response to elderly patients in waiting rooms as a mode to investigate the potential of evidence based art for hospitals. The intention was to produce a series of digital photographs that reflected the art preference of elderly patients. The outcomes of the study uncovered the patients waiting experience and recorded their levels of discomfort. It established the potential and significance of landscape photography in hospital waiting rooms to create a less threatening environment. The participants selected landscapes as their preferred subject matter for visual arts in hospitals. The study contributes to Australian arts health research by comparing Australian arts health projects to international examples. These comparisons indicate that further research is required to comprehensively understand the hospital waiting experience of Australian patients, and their family members in order to create visual arts that they can appreciate and respond to.
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Boorsma, Miranda. „Kunstmarketing : hoe marketing kan bijdragen aan het maatschappelijk functioneren van kunst, in het bijzonder van toneelkunst in Nederland /“. Groningen : Rijksuniversiteit Groningen, 1998. http://bibpurl.oclc.org/web/31615.
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