Dissertationen zum Thema „Exhibition, 1923“
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English, Linda Christine. „The Calgary Exhibition and Stampedes, culture, context and controversy, 1884-1923“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/MQ47940.pdf.
Der volle Inhalt der QuelleGray, Michael. „New Australian plants and animals. An exhibition - and - Physiology, phenomenology and photography: Picturing the indeterminate within an Australian art practice. An exegesis“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1923.
Der volle Inhalt der QuelleBorchardt-Hume, Achim. „The history of the Esposizione Quadriennale d'Arte Nazionale 1927-1943 : sixteen years of aesthetic pluralism under Facist patronage“. Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248636.
Der volle Inhalt der QuelleChasse, Sarah Noble. „"A Certain Kinship": The First Exhibitions of American Folk Art, New York, 1924-1932“. W&M ScholarWorks, 2012. https://scholarworks.wm.edu/etd/1539626675.
Der volle Inhalt der QuelleWelbourne, J. „Design theory and exhibition practice in Britain, 1924-1938 : The articulation and representation of modernist design theory between the Empire Exhibitions“. Thesis, University of Essex, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375731.
Der volle Inhalt der QuelleHedqvist, Eric. „Varats och utvecklingens kedja : en naturhistorisk museiutställning i Göteborg 1923-1968“. Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-18922.
Der volle Inhalt der Quelleavhandlingen framlägges för disputation i ämnet museologi
Petersen, Charlise. „Visual trauma: Representations of African bodies in the 1983 Contre Apartheid Exhibition“. University of the Western Cape, 2018. http://hdl.handle.net/11394/6254.
Der volle Inhalt der QuelleAfter the 1976 student uprising, South Africa entered a period of increased violent state repression. The struggle against apartheid also became increasingly globalised, as can be seen in the UN resolution and the rise of various international anti-apartheid organisations. My thesis looks at the various ways in which art was used as a response to the crisis of late apartheid in the 1980s, focusing on a landmark international exhibition, the Art Contre Apartheid exhibition which opened in Paris on 1983. It examines the context and history of the Art Contre Apartheid collection, and follows its path to its current location at the Mayibuye Archive at the University of the Western Cape, where it mostly languishes in packing crates. My research locates its analysis of the works in broader debates around art and politics during the struggle years in South Africa, but also to highlights the continuities and contrasts between international responses to apartheid, and local struggle art produced in the period surrounding the launch of the exhibition. Some of most compelling works of art in the collection depict the human form, and register acts of torture. The analysis focuses specifically on depictions of a fragmentation and dismemberment of the human body. Drawing on Elaine Scarry's argument about the limitations of language as an adequate response to trauma, my research develops an analysis of these works that demonstrates how the body becomes a privileged site in which violent political contestations are made visible. The thesis also deals extensively with the 'absence of form', which highlights the various instances in the ACA collection where abstract art was used as a signifier of pain, and thus the unspeakable effects of apartheid.
Andreotti, Libero. „Art and politics in Fascist Italy : the Exhibition of the Fascist Revolution (1932)“. Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/14179.
Der volle Inhalt der QuelleTitle as it appeared in M.I.T. Graduate List, Sept. 1989: Art and politics in Italy; the Exhibition of the Fascist Revolution.
Includes bibliographical references.
by Libero Andreotti.
Ph.D.
Moss, Zahra Marie. „The Golden Treasures of Monte Alban: Mexican Representation and Exhibition Controversy, 1933-1936“. Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/242379.
Der volle Inhalt der QuelleWest, Kim. „The Exhibitionary Complex : Exhibition, Apparatus, and Media from Kulturhuset to the Centre Pompidou, 1963–1977“. Doctoral thesis, Södertörns högskola, Estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32143.
Der volle Inhalt der QuelleSpace, Power, Ideology
Burstow, Robert. „Modern public sculpture in 'New Britain', 1945-1953“. Thesis, University of Leeds, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369070.
Der volle Inhalt der QuelleRyu, Jiyi. „Visualising and experiencing the British Imperial World : the British Empire Exhibition at Wembley (1924/25)“. Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21902/.
Der volle Inhalt der QuelleGrunenberg, Christoph. „The politics of presentation : museums, galleries and exhibitions in New York, 1929-1947“. Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283893.
Der volle Inhalt der QuellePRENCIPE, MONICA. „Building exchanges (1895-1953). International Exhibitions and Swedish resonances in Italian Modern Architecture“. Doctoral thesis, Università Politecnica delle Marche, 2018. http://hdl.handle.net/11566/253126.
Der volle Inhalt der QuelleThis work is part of a wider research on the relationship between Italy and the Nordic countries, headed by prof. Antonello Alici at the Università Politecnica delle Marche. The work is organized chronologically around the analysis of both Italian articles on Nordic countries and original archival materials, tracing back the mutual relationships with the Italian audience, focusing on artistic and architectural travels and exhibitions. In particular, the research focuses on the events related to the nation –Sweden– which first had the most relevant introduction into Italian Architecture since the first Venetian Biennale in 1895. The first chapter investigates the genesis of this relationship before the beginning of the First World War, thanks to the contribution of figures as Vittorio Pica and Ferdinand Boberg. The second chapter deals with the consequences occurred after the First World War, with the emigration of the futurist Arturo Ciacelli (1883-1966), the engraver Guido Balsamo Stella (1882-1941) and the travels of the architect Giuseppe Broglio (1874-1956). The third chapter concentrates on the two Fascist decades, focusing on the role of Institutions like the Triennale in Milan and the Swedish Institute of Classical Studies in Rome. Finally, the last chapter examines the Post-war period, when Italian admiration for Swedish design and architecture found interesting resonances both in the INA Casa plans as well as in some exhibition projects, in the work of Italian architects like Piero Bottoni (1903-1973), Piero Maria Lugli (1923-2008), Gio Ponti and Franco Albini (1905-1977). The research highlights how the new Institutions, on the heels of the ones founded in the previous decades, like the Swedish Institute (SI) and the Italian Institute of Culture in Stockholm (IIC) –both still active nowadays– had a fundamental role in the International propaganda. Finally, the thesis discusses how this complex combination of personal experiences, art and architectural magazines and official institutions formed the real background for an historian like Bruno Zevi, who was the first to insert three Nordic masters in his seminal pamphlet Verso un’architettura organica, and Leonardo Benevolo, who in 1960 recognized the role of ‘peripheral’ areas like Sweden and Finland, in his History of Modern Architecture.
Manuel, Kay R. „Exhibiting the Student Experience| Coralie Guarino Davis's Newcomb College, 1943-1947“. Thesis, University of Louisiana at Lafayette, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10163358.
Der volle Inhalt der QuelleThis thesis examines and exposes the active student life of 1947 Newcomb College graduate Coralie Guarino Davis. Through the analysis of her diaries, I examine both the academic and social structure of Newcomb as a coordinate college and its effect on students in the 1940s as well as social and cultural events such as World War II and Carnival. Davis graduated with a Bachelor of Fine Arts degree that enabled her to work professionally in the art field and briefly as a Carnival designer. During her college education, Davis also experienced World War II. Davis and other students aided in the war effort through fundraising, experienced war rations, and anticipated the Allies victory. She also participated in Carnival as a queen of her krewe, the Elenians, in 1947. The exhibit is derived from her diary writings and presents an example of the typical Newcomb student experience during the 1940s in regards to education, the war, and New Orleans social events. Both my research and exhibit work to bridge the gap on Newcomb College history during World War II and enhance the scholarship on women in higher education and in New Orleans during the decade.
Sousa, Luis. „Between monument and memorial : the design of the Korean War veterans memorial“. Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/23012.
Der volle Inhalt der QuelleMorrison, Ann Katherine 1929. „Canadian art and cultural appropriation : Emily Carr and the 1927 exhibition of Canadian West Coast Art - Native and Modern“. Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31244.
Der volle Inhalt der QuelleArts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
Williams, Danielle E. Winn J. Emmett. „Local motion picture exhibition in Auburn, for 1894-1928 a cultural history from a communication perspective /“. Auburn, Ala., 2004. http://repo.lib.auburn.edu/EtdRoot/2004/SUMMER/Communication_and_Journalism/Thesis/willide_31_Williams.pdf.
Der volle Inhalt der QuelleHill, Jennifer. „Ceramics in Britain and France 1921-1931 : economics, marketing and the power of exhibitions“. Thesis, University of Brighton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436798.
Der volle Inhalt der QuelleMuñoz, Torreblanca Marina. „La recepción de "lo primitivo" en las exposiciones celebradas en España hasta 1929“. Doctoral thesis, Universitat Pompeu Fabra, 2010. http://hdl.handle.net/10803/7450.
Der volle Inhalt der QuelleIn Spain, as in the rest of European countries at the end of the nineteenth century and beginning of the twentieth, aboriginal from the new colonized territories and "primitive" objects (art and artefacts from the material culture of the colonies) were also exhibited. Some of these events coincide with the first organized Exhibitions in Spain: General Exhibition of the Philippines Islands in Madrid (1887), Barcelona World Exhibition (1888) and Barcelona International Exhibition (1929). This work analyzes the presence or absence of "the primitive" (people and objects) in the major Spanish exhibitions, the relationship with similar events in other European countries and the possible reception in museum collections (museums of anthropology, ethnology and missionary).
Cagol, Stefano. „Towards a genealogy of the thematic contemporary art exhibition : Italian exhibition culture from the Mostra della Rivoluzione Fascista (1932) to the Palazzo Grassi's Ciclo della Vitalità (1959-1961)“. Thesis, Royal College of Art, 2013. http://researchonline.rca.ac.uk/1642/.
Der volle Inhalt der QuelleHess, Alison. „From hidden technology to exhibition showpiece : the journey of 2LO, the BBC's first radio transmitter, 1922-2012“. Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/f96a8acf-223a-6469-e27b-ae3af8cea2e5/8/.
Der volle Inhalt der QuelleByers, Mary Hannah. „The rise of socialist realism in the exhibitions of the State Tret'iakov Gallery 1924-1934“. Thesis, University of Glasgow, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410634.
Der volle Inhalt der QuelleRezende, Livia Lazzaro. „The raw and the manufactured : Brazilian modernity and national identity as projected in international exhibitions (1862-1922)“. Thesis, Royal College of Art, 2010. http://researchonline.rca.ac.uk/1143/.
Der volle Inhalt der QuelleLimbos-Bomberg, Nathalie. „The ideal and the pragmatic, the National Gallery of Canada's Biennial Exhibitions of Canadian Art, 1953-1968“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57706.pdf.
Der volle Inhalt der QuelleCasey, Briege. „Making an exhibition of ourselves : using narrative and arts-based inquiry with student nurses“. Thesis, University of Bristol, 2010. http://hdl.handle.net/1983/e0235c18-2782-4ebf-b762-450551267125.
Der volle Inhalt der QuelleOliveira, Raíssa Pereira Cintra de. „Parque Anhembi: a produção de um centro de exposições em São Paulo (1963-1972)“. Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-19122016-162051/.
Der volle Inhalt der QuelleThis thesis intends to investigate the production of architecture in the Between the decades of 1960-70. It is a premise that it should be included in the Methodological approach in the history of architecture, starting from the understanding that architecture is Of the dialectic between the autonomy of the project and the state of the productive forces in Certain historical moment. The reflections proposed here attempt to articulate multiple Relationships within the architecture production process - which means including from the Design, design, and even use - corroborating Understanding, rather than the discipline of architecture itself. Anhembi Park, an exhibition center linked to tourism Business in São Paulo, allows us to analyze three levels of production: the industrialization of Structure, the pre-fabrication of concrete and the adoption of new Reinforced concrete executed in the bed, themes that can characterize the \"plurality\" Of the post-Brasilia period, or even to explain the constructive concern Which interwoven many boards at that moment. The possibility that opens in the Investigation of the object considered as a new urban centrality and the analysis of how It would be possible to embrace the theme of the design practices at that moment in which Strengthened an important relationship between urbanism, architecture, engineering and construction. In the middle of the search for a new production. It sought to contain a political discourse and Ideological issues about their time that have been raised mainly by urban Evidenced with maximum urgency.
Brooks, Michael. „Civilizing the metropole the role of colonial exhibitions in universal and colonial expositions in creating greater France, 1889-1922“. Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/665.
Der volle Inhalt der QuelleB.A.
Bachelors
Arts and Humanities
History
Santos, Wagner Serafini dos. „EXPOSIÇÃO FOTOGRÁFICA SOBRE A REVOLTA MILITAR DE 1926 EM SANTA MARIA, RS, BRASIL“. Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/11060.
Der volle Inhalt der QuelleEste trabalho de conclusão de mestrado faz parte da Linha de Pesquisa Patrimônio História e Patrimônio Cultural do Mestrado Profissional em Patrimônio Cultural da Universidade Federal de Santa Maria. O objetivo deste trabalho foi realizar uma exposição fotográfica sobre a revolta militar ocorrida na cidade de Santa Maria (RS) em novembro de 1926, a partir de pesquisa realizada nos jornais Correio da Serra, Gaspar Martins, Diário do Interior e O Castilhista, em fotografias e documentos diversos daquela época, a fim de divulgar ao público esse capítulo da história local. Foram pesquisados os acervos do Arquivo Histórico Municipal de Santa Maria, da biblioteca do Colégio Marista Santa Maria (Biblioteca Irmão Daniel), da Casa de Memória Edmundo Cardoso, do Centro Histórico Coronel Pillar, do Memorial Mallet e do Museu Educativo Gama d Eça. A revolta começou com a sublevação de dois quartéis do Exército Brasileiro, o 5º Regimento de Artilharia Montada (atual 3º Grupo de Artilharia de Campanha Autopropulsado Regimento Mallet) e o 7º Regimento de Infantaria (atual 7º Batalhão de Infantaria Blindado Regimento Gomes Carneiro), os quais atacaram as forças do 1º Regimento de Cavalaria da Brigada Militar (atual 1º Regimento de Polícia Montada Regimento Coronel Pillar), resultando num bombardeio sobre a região central da cidade. A batalha terminou com a retirada dos militares rebelados, que saíram de Santa Maria devido à resistência da Brigada Militar. Trabalhamos para mostrar os acontecimentos da revolta militar a partir do enfoque da imprensa de Santa Maria daquela época, paralelamente ao enfoque dos livros que descrevem o fato. A exposição foi criada para ser exibida de forma itinerante na própria cidade de Santa Maria. De acordo com a metodologia empregada, a pesquisa é aplicada, exploratória, bibliográfica e documental. A dissertação informa como os jornais, as fotografias e outros documentos pesquisados relacionam-se com o patrimônio cultural santamariense, reproduz as informações coletadas nessas fontes e contextualiza a história da revolta militar de 1926, mostrando que esta fez parte do movimento tenentista da década de 1920.
Cibin, Alberto. „I futuristi alle Esposizioni Biennali Internazionali d'Arte di Venezia (1926-1942)“. Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3426760.
Der volle Inhalt der QuelleLa ricerca indaga la storia del gruppo futurista, guidato da Filippo Tommaso Marinetti, alle Esposizioni Biennali Internazionali d’Arte di Venezia tra il 1926 e il 1942. Le partecipazioni dei futuristi in questo arco temporale fu costante e avvenne sempre in forma collettiva, tanto da contare in alcune edizioni anche più di trenta espositori. Le mostre veneziane nel corso degli anni Trenta assunsero un ruolo primario nella riforma del sistema espositivo fascista in relazione all’arte contemporanea. Tale sistema prevedeva, attraverso successivi gradi di selezione, l’accesso degli artisti dapprima a manifestazioni sindacali, provinciali e interprovinciali, poi alle Quadriennali nazionali di Roma e, infine, alle Biennali internazionali di Venezia, che avrebbero dovuto rappresentare al meglio l’arte italiana in vista del confronto con nazioni straniere. Le esposizioni veneziane sono state quindi un osservatorio privilegiato per indagare non solo le varie fasi dell’arte futurista e le reazioni della critica coeva, ma anche il complesso e talvolta conflittuale rapporto tra i seguaci di Marinetti e i vertici della Biennale, sotto l’egida forzatamente armonizzante dello Stato fascista.
Cauvin, Thomas. „National museums and the mobilization of history: commemorative exhibitions of Anglo-Irish conflicts in Ireland and Northern Ireland (1921-2006)“. Doctoral thesis, T. Cauvin, National museums and the mobilization of history: commemorative exhibitions of Anglo-Irish conflicts in Ireland and Northern Ireland (1921-2006). Florence, European University Institute, 2012, 2012. http://elea.unisa.it:8080/xmlui/handle/10556/5203.
Der volle Inhalt der QuelleMartins, Mariana Esteves. „A formação do Museu Republicano Convenção de Itu (1921-1946)“. Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-21082012-093930/.
Der volle Inhalt der QuelleThis dissertation was written as part of the Social History Post-Graduate Program at Universidade de São Paulo (USP), as well as of the Material Culture History Research Program of the Museu Paulista/USP, in the research line: History of Museums and Exhibitions. Its object refers to the establishment of the Museu Republicano Convenção de Itu, which is a branch of the Museu Paulista in the interior of São Paulo State (the first museum in the country dedicated to the Republic), and an emblematic project developed by some of the \"historical republicans\", the ones who were at the head of the Brazilian government in the First Republic. Its chronological scope ranges from the moment before the museum opening in 1923 until the end of the management of Affonso de Taunay, its first Director, in 1946. History museums have been the object of reflections by many authors from different perspectives. The contribution that we hope we may offer to such topic is developed not from the perspective of Political History, but is based on Material Culture and Museology, i.e., on the investigation of the museum´s collection and exhibition.
Zamani, Pegah. „Views across boundaries and groupings across categories the morphology of display in the galleries of the High Museum of Art 1983-2003 /“. Diss., Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/31823.
Der volle Inhalt der QuelleGasparotto, Ilaria. „Costruire l'alterità. Le collezioni etnografiche dei missionari cattolici italiani (1850 - 1925): genealogie ed allestimenti museali“. Doctoral thesis, Università degli studi di Padova, 2018. http://hdl.handle.net/11577/3425243.
Der volle Inhalt der QuelleLa tesi ricostruisce la pratica etno-espositiva missionaria in Italia tra il 1850 e il 1925, aspetto particolare del più vasto fenomeno di spettacolarizzazione dell'alterità che si è affermato in Europa a partire dal XIX secolo. L'indagine prende le mosse dall’analisi della prima esperienza missionaria di esibizione di oggetti esotici registrata in Italia (la Lotteria a favore dei missionari cattolici figli del Regno di Sardegna, organizzata nel 1858 dal direttore dell'Opera della Propagazione della Fede di Torino Giuseppe Ortalda) e si conclude con l’esame dell’Esposizione Missionaria Vaticana, organizzata dalla Santa Sede per l'anno giubilare 1925. Tra le due significative esperienze si collocano numerosi episodi espositivi, che pur differendo talvolta anche sensibilmente negli allestimenti, contribuirono complessivamente alla progressiva definizione di un genere. Va ricordata in particolare l'imponente Esposizione d'Arte Sacra e delle Missioni Cattoliche di Torino del 1898, affrontata nel secondo capitolo. L'analisi degli eventi espositivi ne ha evidenziato soprattutto il potenziale identitario. Le mostre religiose ebbero intenti perlopiù auto-rappresentativi e di animazione missionaria, perseguiti tuttavia con abbondante ricorso alla messa in scena - e alla costruzione - dell'alterità da evangelizzare. Nella tesi sono messe in luce sensibili affinità in Italia tra le pratiche etno-espositive missionarie e quelle laiche: nel forgiare immaginari esotici le une e le altre contribuirono in definitiva alla definizione sintetica di una unica cultura coloniale nazionale. Esito permanente del fenomeno otto e novecentesco sono i musei missionari, categoria particolare dei Musei ecclesiastici. Un'analisi antropologica completa dunque la tesi: in riferimento ad alcuni casi studio specifici (tra i quali risalta in questa sede, per qualità d'analisi, il Museo etnografico e di Scienze Naturali dei Missionari della Consolata di Torino), vengono evidenziate le problematicità delle collezioni conservate dagli allestimenti contemporanei. La tesi si conclude con una riflessione sul possibile uso post-etnografico dei pezzi.
Edmundson, Joshua R. „THE ONE EXHIBITION THE ROOTS OF THE LGBT EQUALITY MOVEMENT ONE MAGAZINE & THE FIRST GAY SUPREME COURT CASE IN U.S. HISTORY 1943-1958“. CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/399.
Der volle Inhalt der QuelleThörn, Kerstin. „En bostad för hemmet : idéhistoriska studier i bostadsfrågan 1889-1929“. Doctoral thesis, Umeå universitet, Historiska studier, 1997. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-79135.
Der volle Inhalt der Quelledigitalisering@umu
Percheron, Bénédicte. „Les sciences naturelles à Rouen au XIXe siècle : muséographie, vulgarisation et réseaux scientifiques (1789-1923)“. Rouen, 2014. http://www.theses.fr/2014ROUEL018.
Der volle Inhalt der QuelleThe Study of natural sciences in Rouen in the nineteenth century, in its widest meaning, allows to reveal social, cultural, economic, political practices or, in a more general way, scientific and philosophic ideologies. From the first botanical garden of the Académie des Sciences, Belles-Lettres et Arts de Rouen to the opening of the Parc zoologique de Clères, not forgetting the creation of the natural history museums of Rouen and Elbeuf, this thesis offers a panorama of the history of this discipline trough the prism of the museography, popularization and scientific networks. It questions and confronts the cohabitation between research and scientific popularization, both at the origin of the development of the discipline for this century. Theses relations are examined by the entermise of study of three phases which presided over the full development of natural history in Rouen. It returns at first time on the origins and the implanting of this science in Rouen, by lingering over the first private collections, then public specialized. The phenomenon of institutionalization of the natural sciences is studied through the history of the Natural history museum of Rouen and the creation of the public gardens of the city. Finally the last part becomes attached to dissemination tools of this discipline, by returning on the history of its teaching and local learned societies. It proposes being interested in the consequences of this dissemination by observing the use and the dissemination of the scientific theories during the Third Republic and the museographic creations of these years. Finally, the study concludes with the notion of exhibition of alive perceived as entertainment and popularization
Bernat, Cory Anne. „"Beans are bullets" and "Of course I can!" exhibiting war-era posters from the collection of the National Agriculture Library“. College Park, Md. : University of Maryland, 2009. http://hdl.handle.net/1903/9846.
Der volle Inhalt der QuelleThesis research directed by: Dept. of History. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
Moore, Gillian Lizbeth. „From head to tale : the circulation, display and representation of big-game material culture, c. 1870-1920“. Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/32476.
Der volle Inhalt der QuelleBarradas, Sílvia. „A produção de mobiliário urbano de fundição em Portugal: 1850 a 1920“. Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/316775.
Der volle Inhalt der QuelleIn the nineteenth century, the union of art and industry has led to a profusion of cast iron urban artifacts – street furniture - where French Fonte d'Art was a leading example. The mass diffusion of these artifacts was associated with two converging factors: - The Universal Exhibitions; - The development of cities based on the conceptions of the new eighteenth century urbanism, where the urban renewals of the Haussmannian Paris became an example and model of world export. The first factor was a result of the maturity reached by the Industrial Revolution and the liberal concept of the world economy, becoming one of the main agents of influence in the whole public space in several European cities and Latin America in the eighteenth century. This accelerated the development of Fonte d'Art industry in all its aspects: urban design, artistic, and technological. From the second factor came urban intervention policies, by local administrations and government, whose content was reflected in the deployment of health infrastructure networks, lighting, public transportation and urban beautyfication projects, as well as green areas and public spaces for leisure. The present work aims to study the impact and influence that these two factors had in the Portuguese street furniture foundry industry and the emergence and spread of cast iron street furniture in the city of Lisbon. To this end, it became necessary to review all foundries in Portugal, through the various industrial surveys published throughout the nineteenth century, in order to situate the role of the foundry industry, in the national context. Similarly an analysis to legal and responsible to the Capital, determined their appearance, particularly in the performance Technical Department of the Municipality of Lisbon had in relation to urban development and subsequent materialization of cast iron street furniture in overview of the city.
En el siglo XIX, la unión del arte y la industria dio lugar a una profusión de artefactos urbanos en hierro fundido – mobiliario urbano - de que la Fundición de Arte francesa es un ejemplo a seguir. La distribución y propagación masiva de estos artefactos urbanos de fundición fue asociado a dos factores convergentes: - las Exposiciones Universales; - el desarrollo de las ciudades basado en las nuevas concepciones de urbanismo del siglo XIX, donde la renovación urbana de París Haussmanniano se convirtió en un ejemplo y modelo de exportación mundial. El primer factor se ha traducido en una de las consecuencias de la madurez de la Revolución Industrial y de la concepción liberal de la economía mundial, convirtiéndose en uno de los principales agentes de influencia del espacio público en varias ciudades de Europa y América Latina del siglo XIX, estimulando la aceleración del desarrollo de la industria de la Fonte d'Art en todos sus aspectos: Diseño Urbano, Arte y Tecnología. De lo segundo factor ocurrirán las políticas de intervención urbana, por parte de las administraciones locales y del gobierno, cuyo contenido se logró mediante la implantación de las redes de infraestructura sanitaria, la iluminación y el transporte público y la ejecución de los proyectos de embellecimiento urbano, así como de zonas verdes y espacios públicos para el ocio. Así, el presente trabajo tiene como objetivo estudiar el impacto y la influencia que estos dos factores tuvieron en el sector industrial portugués de mobiliario urbano de fundición y su aparición y propagación en la ciudad de Lisboa. Para ello, se hizo necesario estudiar todas las fundiciones en Portugal, a través de las diversas encuestas industriales publicados a lo largo del siglo XIX, con el fin de situar el papel de la industria de la fundición, en el contexto nacional. Con este fin, fue necesario hacer una revisión à las estructuras jurídicas y legales, responsables, en la Capital, por la aparición y divulgación de lo mobiliario urbano en hierro fundido. Hablamos en especial de la relación que la “Repartição Técnica” perteneciente al Ayuntamiento de Lisboa tuvo en el desarrollo urbano y su consiguiente materialización del mobiliario urbano en hierro fundido en la panorámica global de la ciudad.
Vidal, Peig Teresa. „El fenomen Barcelona & Gaudí : claus per a l'estudi del procés de conformació“. Doctoral thesis, Universitat Politècnica de Catalunya, 2017. http://hdl.handle.net/10803/406006.
Der volle Inhalt der QuelleAquesta tesi doctoral consisteix en l'estudi sobre el procés de conformació de la imatge de l'arquitecte Antoni Gaudí i de la seva obra com a referent i reclam de la ciutat de Barcelona i peça clau en el reconeixement internacional del modernisme català. El treball s'ha fet a partir de l'anàlisi de la seva fortuna crítica i sobretot a partir de les exposicions relacionades, tractades com a eines estratègiques al llarg del temps i arreu del món i es posa especial atenció en les que tingueren lloc a Barcelona i al Japó. S'ha analitzat cadascuna de els exposicions clau de manera detallada i s'ha detectat les evidències que han expressat, en cada moment, un rebuig o bé una admiració de l'obra d'Antoni Gaudí. Aquest procés, s'inicia amb l'Eexposició de Paris de 1878 i es perllonga encara ara. El grau d'expertesa assolit sobre la recepció de l'obra de l'arquitecte català ajudarà a canalitzar i reflexionar sobre les conseqüències de la conformació de la seva imatge com la massificació del turisme actual de Barcelona. Les conclusions han de servir per identificar les diferents claus que han propiciat aquesta conformació del fenomen Barcelona-Gaudí per saber intervenir en el futur en altres obres de Gaudí i del modernisme en general, com per exemple, la seva primera construcció, a Mataró, la "Nau Gaudí" per tal de situar-la dins del corpus Gaudinià, seguint el model actual amb les esmenes necessàries si s'escau.
Jarrín, María José. „La formation des collections d'objets amérindiens de l'Équateur : une étude croisée entre les musées français et les musées équatoriens (1875-1929)“. Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H076.
Der volle Inhalt der QuelleThe purpose of this thesis is to retrace the history of the transnational exchange between Ecuador and France from 1875 to 1929. This was a period of scientific, cultural and political exchange that determined the structure of the practices for collecting Indigenous objects, and the beginning of the museum phenomenon in these two nations. The historiographic survey of various archival and museum collections in Ecuador and France has made it possible to shed light on the nascent stages of the formation of school, municipal and ethnographic collections by different agencies (travelers, scientists, or diplomats) that were operating in the name of science, their homeland, and the new capitalist dynamics. These social networks that developed between the scholars of these two nations made it possible to distinguish between actors that were considered secondary (namely the landscape architect Édouard André or the huaquero éclairé Alcides Destruge), to identify “lost” collections (such as the collections of Auguste Cousin, Dominique-Vivant Denon, and the Trésor de Cuenca), and to analyze the influence between Ecuador and France during the stages in which the school, municipal and ethnographic museums were being set up. Thus, the artefacts that were collected are considered as documental sources that contributed to order the development of global science and the construction of modern nation-states. The Franco-Ecuadorian elites that were motivated by their economic, political and nationalist interests were responsible for presenting national material culture through the prism of the colonial discourse at international exhibitions in Paris. The new museums that were subsequently created would convey this image of an exotic country (savage and Incan) that will be presented as an objective representation of Western modernity until the following century
Lee, Jenny Rose. „Empire, modernity and design : visual culture and Cable & Wireless' corporate identities, 1924-1955“. Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16467.
Der volle Inhalt der QuelleDemarchi, Rita de Cassia. „Ver aquele que vê: um olhar poético sobre os visitantes em museus e exposições de arte“. Universidade Presbiteriana Mackenzie, 2015. http://tede.mackenzie.br/jspui/handle/tede/1925.
Der volle Inhalt der QuelleTheoretical reflections and images/photographies approach in this research the complex domain which involves the visitors and art exhibition museums in Brazil and abroad. Based on research methodologies in Arts (Róldan & Marin-Viadel, 2012), single images or compound as photoshoots are considered a mode of knowledge and foster studies and reflections. Apart from the dialogue among images, the experience lived and the thought of scholars from different areas, the lightness of poetry and metaphors is also included in this work as well as reflections from contemporary art and Art history. Some issues concerning the contemporary scenario which can impede the meeting between the individual and art are discussed, such as excess, spect cle, consumerism, speed, tourism. These issues constitute what was named as penumbra and nourish the attitudes of the fugitive subject visitors. There must be both for the visitor and the researcher an openness for the aesthetical experience, land of the pilgrim, in order to unveil penumbra, ambivalence, maze and twilight. This openness inspires the research as a path of pilgrimage in order to search for the understanding of the complexity of phenomena and the poetic work of capturing the images shots at the exhibitions. This research of phenomenological nature adopts the theoretical framework of authors who reflect upon contemporaneity, such as Calabrese (1988), Bauman (2001); as well as authors who value sensibility and experience, such as Bachelard (1988), Dewey(2010), Merleau-Ponty(1975), Ferreira Santos (2005), Maffesoli (1998).
Reflexões teóricas e imagens/ fotografias abordam nesta pesquisa o complexo território que envolve os visitantes e os museus de exposições de arte, no Brasil e no exterior. Com base nas metodologias de pesquisa em arte (Róldan & Marin-Viadel, 2012), imagens individuais ou compostas como foto-ensaios são consideradas uma forma de conhecimento e impulsionam o estudo e a reflexão. Além do diálogo entre as imagens, a experiência vivida e o pensamento de estudiosos de diferentes áreas, inclui-se a leveza da poesia e das metáforas, além de reflexões derivadas da arte contemporânea e da história da arte. São discutidas algumas questões acerca da paisagem contemporânea que podem dificultar o encontro do sujeito com a arte, tais como o excesso, o espetáculo, o consumo, a velocidade, o turismo, que constituem o que foi nomeado de penumbra e alimentam as atitudes dos visitantes sujeitos fugidios. Tanto para o visitante, quanto para a pesquisadora, a fim de desvelar em meio à penumbra e as ambivalências, ao labirinto e ao crepúsculo, há que se ter a abertura para a experiência estética, terreno do peregrino. Abertura que inspira a pesquisa como uma trajetória de peregrinação em busca de compreensão da complexidade dos fenômenos e o trabalho poético de captura das imagens - flagrantes nas exposições. A pesquisa de cunho fenomenológico adota como referencial teórico autores que abordam reflexões sobre a contemporaneidade tais como: Calabrese (1988), Bauman (2001); e autores que valorizam a sensibilidade e a experiência, entre eles: Bachelard (1988), Dewey(2010), Merleau-Ponty(1975), Ferreira Santos (2005), Maffesoli (1998).
Ivanov, Gunnela. „Vackrare vardagsvara – design för alla? : Gregor Paulsson och Svenska Slöjdföreningen 1915–1925“. Doctoral thesis, Umeå University, Historical Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-275.
Der volle Inhalt der QuelleThis thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”).
Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson.
Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist.
Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society.
Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press.
Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.
Huang, Michelle Ying Ling. „The reception of Chinese painting in Britain, circa 1880-1920 : with special reference to Laurence Binyon“. Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1020.
Der volle Inhalt der QuelleKazakova, Ekaterina. „La figure de la victime : un nouvel idéal artistique? : La (re) construction des imaginaires nationaux des états post-soviétiques à la Biennale de Venise (1993-2015)“. Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALH018.
Der volle Inhalt der QuelleThe post-Soviet states have been participating in the Biennale of Contemporary Art in Venice since the late 1990s. They have constantly shown, in their national pavilions and throughout their participation, images of physical and social suffering and trauma. The PHD project analyse the possible causes of such an insistence on the representation of the suffering of people by linking them to the political, economic and artistic stakes that determine, for these states, their participation in international art fairs.These post-Soviet countries mainly deal with a general phenomenon which in political science has been called the conflict or the competition of victims. Victims compete for a bigger role in social memory. The historian Martin Sabrov asserts that a radical transformation of modern political culture took place: within a few decades, the ideal oriented towards a future of progress and freedom has been replaced by the painful celebration of a past haunted by victimhood. Such a transformation was accompanied by a change in certain social ideals characteristic of communist mythology: “At the center of modern historical culture is no longer the ideal of the hero, but the ideal of the victim.” The privileged status of the victim in the 1990s created new forms of self-representation and identity politics: Armenia, a country with a long tradition of suffering since the genocide of the turn of the century, and the Baltic countries, after the collapse of the Soviet Union built their identities on the role of the victim, transforming the traumatic history of Stalinist repression and the Soviet occupation into a collective glorification of the miserable past of their people. Exhibitions for the Biennale illustrate visually, and with almost religious fervour, this sacrificial history, representing the resistance to violence and the miserable destiny of the people as the heroic origin of the birth of nations. The celebration of heroic and miserable victims is the foundation of a new conception of national identity. Traumatic history, still actively present in the living memories of contemporaries, is transformed into an aesthetic object and included in the international system of artistic manifestations
Azevedo, Mariana Rissi [UNESP]. „Women from the point of view of the Bukowskian narrator: the representation of the feminine universe in Erections, Ejaculations, Exhibitions and General Tales of Ordinary Madness“. Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/138450.
Der volle Inhalt der QuelleRussell Harrison (1994) reconhece a presença do chauvinismo machista na obra de Charles Bukowski e afirma que a redação de seus romances tem de ser vista no contexto da 'segunda onda do feminismo', época na qual Bukowski se consolidou como escritor, e como consequência recebeu influência. Esse momento da liberação feminina é representado por livros tais como Sexual Politics de Kate Millett (1969) e The Female Eunuch de Germaine Greer (1970). Bukowski, conhecido por apresentar a mulher como objeto do desejo masculino, demonstra uma sensibilidade diante da objetificação do corpo feminino no conto 'The Most Beautiful Woman in Town', no qual o autor retrata a protagonista Cass como vulnerável e carente de assistência. A dissertação situa esse conto no contexto dos 64 contos de Erections, Ejaculations, Exhibitions and Tales of Ordinary Madness (1972), para demonstrar a forma excepcional com que o autor mostra a sua sensibilidade em relação à figura feminina no contexto de uma coletânea caracterizada por sua misoginia
Russell Harrison (1994) recognises the male chauvinism of Charles Bukowski's work and argues that his novels must be seen in the context of the 'second wave of the feminism', a time in which Bukowski established himself as a writer, and which certainly influenced him. This point in the struggle for women's liberation is represented by books such as Sexual Politics, by Kate Millett (1969), and The Female Eunuch, by Germaine Greer (1970). Bukowski, known for his presentation of women as the objects of male desire, demonstrates a sensitivity concerning the objectification of the female body in the story 'The Most Beautiful Woman in Town', in which he depicts the protagonist, Cass, as vulnerable and in need of assistance. The dissertation situates this story in the context of the 64 stories of Erections, Ejaculations, Exhibitions and Tales of Ordinary Madness (1972) in order to demonstrate how exceptional its sensitivity with regard to women is in a collection characterised by its misogynism
Nadal, Mut Apol·lònia. „Mallorquins, menorquins i eivissencs a les Exposicions internacionals, nacionals i locals (1827-1929)“. Doctoral thesis, Universitat de les Illes Balears, 2015. http://hdl.handle.net/10803/369308.
Der volle Inhalt der QuelleThe study analyses the participation of the Balearic Islands in a series of exhibitions held between 1827 and 1929, a period in which such exhibitions aroused great interest at an international, national and local level. The Balearics shared this interest, as was evident in their participation both locally and abroad. This endeavour was spurred by institutions and individuals as well as the economic, social and cultural climate and led to the many contributions from manufacturers and artists. The series of 47 exhibitions studied show low participation at first, followed by a middle phase of strong participation and a third phase with low participation in the international exhibitions but high in those held in Mallorca. As for the international ones, interest reached its highest point between the London Exhibition in 1862 and that in Chicago in 1893 and its lowest after the Paris Exhibition in 1900. International recognition of Balearic products was first mainly in the agricultural sphere. However, after the Vienna Exhibition in 1873 it extended to industrial goods, firstly food products such as preserves, wine, liqueurs and later, others such as footwear and textiles. In contrast, Mallorcan embroidery had been winning awards since the London Exhibition in 1851. Closer study of those who were exhibiting gives a good indication of the development of both the agricultural and industrial sectors. Those focused on were presenting some of the most important products in the Balearic economy, on the one hand olive oil and almonds and on the other, preserves and footwear. An overall view of the exhibitors enables us to identify different social groups. There were initially some members of the nobility but above all the entrepreneurial bourgeoisie, who played an outstanding role not only in the economy but also in politics and culture. There were also smaller manufacturers from the different municipalities and, especially at the beginning of the 20th century, a large group of new landowners exhibiting farm products.
Castel, Mathilde. „La muséologie olfactive, une actualisation résonante de la muséalité de Stránský par l'odorat“. Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA053/document.
Der volle Inhalt der QuelleLike other mediums, museology shows a way in which man specifically appropriates reality. It consists in selecting objects from it, taking them out and arranging them in the museum's experimental setting in order to create what is called a musealized reality: addition of knowledge contained in objects, manifested by the exhibition, and offered for acquisition through the visit. This specific relation of man to reality is called museality and as mentioned above, refers to the work of the museologist Zbynĕk Zbyslav Stránský for whom the collection of objects is central to the museum system.But in the age of digital and the possibility that we have to see the elements of reality without being physically with them, the importance given to the collection of objects by Stránský seems to make his conception of museality obsolete to think museology.Taking as a result the work of the sociologist and philosopher Hartmut Rosa, and in particular his designation of the role played by olfactory perception in the quality of our relationship with the world, the present research endeavors to demonstrate that if there is a mismatch between Stránský's theories and the actuality of the appropriation of reality by man, it is not so much because of the physical dimension of museum objects than the mono-sensoriality of the means of which we are allowed to maintain them. Combining theory with practice, this work argues that, updated by the concept of resonance proposed by Rosa, Stránský's works still have a legitimacy to think about museologies of today and tomorrow