Dissertations / Theses on the topic 'Appropriation'
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Schneider, Ulrich Johannes. "Intellectual appropriation." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-173352.
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Intellectual activities seek understanding the way pirates capture booty. It is all about pulling up alongside, finding and holding the rhythm of the other vessel, fixing the grappling hooks in order to board and to appropriate. This is not the way understanding is usually depicted, even if appropriation is its intended aim. Philisophers in particular characterise understanding more gently, as a kind of welcoming of distant truth, held out to the foreign past. However, gentleness is an illusion in hermeneutic thought, philosophical or ethnological, as I wish to show in reflection on \"dialogue\" and \"story\" as two major intellectial grappling hooks.
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Heger, Katrina. "Hope for Appropriation." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/497.
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This thesis presents the shortcomings of the Fair Use exemption within the Copyright Act through an in depth analysis of the recent Shepard Fairey v. Associated Press surrounding the well-regarded Hope Poster. The thesis critiques the unpredictability of the law, the copyright holder’s growing sense of monopolized ownership over her or his work, the complex facets of art that are overlooked in the court’s legal analysis, and finally, the social justice implications of the Copyright Act. The thesis argues that Fair Use should make room for appropriation art, otherwise successful and progressive artists, such as Shepard Fairey, will be discouraged from creating.
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Schneider, Ulrich Johannes. "Intellectual appropriation: no piracy." Hong Kong Univ. Press, 2001. https://ul.qucosa.de/id/qucosa%3A13394.
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Intellectual activities seek understanding the way pirates capture booty. It is all about pulling up alongside, finding and holding the rhythm of the other vessel, fixing the grappling hooks in order to board and to appropriate. This is not the way understanding is usually depicted, even if appropriation is its intended aim. Philisophers in particular characterise understanding more gently, as a kind of welcoming of distant truth, held out to the foreign past. However, gentleness is an illusion in hermeneutic thought, philosophical or ethnological, as I wish to show in reflection on \"dialogue\" and \"story\" as two major intellectial grappling hooks.
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St-Arnaud, Guy-Robert. "Trinite, appropriation, et translitteration." Strasbourg 2, 1995. http://www.theses.fr/1995STR20039.
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Associe a la conscience ou formule en terme plus relatif, le concept de personne conduit le discours trinitaire a une double impasse, soit trois divinites ou trois modalites de l'un. Cette these dresse un parcours fonde sur une analyse des processus discursifs qui met a jour une structure commune entre les discours psychanalytique et trinitaire. Cette perspective revele les apories de la nomination de l'esprit et developpe une ecriture coherente de la question du particulier et du communAssociated to conscience of formulated more relatively, the person concept leads the trinitarian discourse into a twofold deadloch, either three deities or three modalities of the one. This thesis opens a course based on an analysis of the discursive processes which brings to light a common structure netween the psychanalytic and trinitarian discourses. Such a perspective unnasks the aporias of the nomination of the spirit, and fosters a coherent formulation of the issue of the particular and of the common
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Grant, Benjamin John. "Burton / empire : strategies of appropriation." Thesis, University of Kent, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429786.
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Rodriguez, Liliana. "Technology appropriation awareness and identification." Thesis, Loughborough University, 2017. https://dspace.lboro.ac.uk/2134/27543.
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This thesis presents the results of a research that examines technology appropriation (TA) awareness and identification in digital services start-up companies. Technology appropriation refers to the unexpected ways in which people adopt and adapt technology to make it serve their personal needs and motives. The research questions(Chapter 1) are: (1) How to identify TA within the development of digital services in the context of start-ups? (2) How aware are service providers of the phenomenon of TA? (3)What are the enablers for the appropriation of services by users? To address these questions, the thesis presents in chapter 2 a literature review that illustrates the context of the research, and explains its key concepts: digital services, user involvement in the development of digital services, technology appropriation, and levels of user engagement. Specific research methodological choices as well as specially designed research data collection and analysis tools are subsequently explained in chapter 3. An exploratory study is then introduced in chapter 4 to demonstrate how users can be involved in the development of digital services, evidencing the need for further research in TA. This initial work is concluded in chapter 5 by the introduction of a theoretical framework for TA (TF TA). Chapter 6 outlines the design and planning of the main study consisting of five case studies which provide empirical data for the core findings of this research. A first set of findings deriving from a comparison of TA examples found in the case studies based on the TA three levels proposed framework (TF TA) is presented in chapter 7. A second set of findings presented in chapter 8 helps to respond to the questions: (1) how aware are service providers of the phenomenon of TA, and (2) what are the enablers for the appropriation of services by users? These findings establish the level of TA awareness of each case study, outline the taxonomy of TA service types, and introduce emerging themes resulting from a thematic analysis, which also serves to propose enablers for TA within digital start-ups. Chapter 9 and 10 identifies and presents a third set of findings and contributions to knowledge. Main contributions are: a new tested and revised TA Level Framework created by examining the empirical findings against the TA Theoretical Framework (TA TF). And a new TA Identification Method within the development of digital services in the context of start-ups, underpinned by the tools previously developed in the research. Minor contributions explained in chapter 10 are: A taxonomy of TA services (pro-active/re-active/inactive), an account of the Key Aspects of TA Awareness, a Typology of TA Outcomes (Soft TA, Hard TA, and Hard & Soft), and a revised classification of TA Impact and TA levels. It also comprises an explanation of the relationship of TA Levels & TA Impact, a revised model of the user involvement approach, a new categorisation of TA User Actions (Expected/Engage/TA savvy), and an identification of TA Enablers (User Lead & Service Control). This research has found that the Key Aspects of TA Awareness are TA Concept, Systematic Programme of User Involvement, Mode of User Involvement, Identifying TA Actions, and the TA Enablers (User Lead & Service Control). The research has also found that the users actions and outcomes related to the adoption and adaption the technology, can be classified in High (when the users lead parts of the service), Medium (when the users customised and personalised the service) and Low levels (when the users used the service as intended, but give feedback to the service providers about its used). Additionally, this work has determined that the services and service providers TA Level Awareness is determined by how much they understand and know about TA. This awareness can be classified as proactive (when the service provider understands, identifies, and knowingly foster TA within the service), reactive (when the service provider understands TA in other services but cannot identify TA and reacts to users feedback and TA) and inactive (when the service provider does not recognised and cannot identify TA within the service). This investigation also has established that the aspects of the TA Level Framework can be integrated and employed as a method for TA identification within the services. This study has recognised that TA impact, the extent to which services are employed in the process of appropriation, can be classified as high, medium and low depending on how the service providers change and further develop their service because of their understanding and identification of TA. The enquiry also found that the level of TA impact is different from the TA Level, that the knowledge and awareness of TA impact are underpinned by the user actions and outcomes, as well as by their change and development. Another finding of this research is that the users TA outcomes (this is the tangible consequence of the user adoption and adaptation of technology) can be classified as Soft TA, Hard TA and Soft & Hard TA. Soft TA corresponds to the changes made by users related to the social practices evolution of the service, Hard TA refers to the changes made by the users in the API of the service. Soft & Hard TA relates to the combination of user changes in social aspects and the manipulation of the service s API. The study found that the service providers main approaches to user involvement are: listening to and collaborating, testing and experimenting and active observation. Last, this investigation determined that users actions concerning TA can be expected (users do nothing else other than the expected use of the service), engaged (where users are involved in the development of the service for personal motives) and TA savvy (where users are involved in in the development of the service for personal motives, but they have software and programming skills). The conclusions section summarises the research and explains its limitations. It also presents a personal reflection and indicates avenues for future research.
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DE, SANTIS FEDERICA. "APPROPRIATION ART E DIRITTO D'AUTORE." Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/253310.
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Appropriation Art is generally defined as a form of contemporary art which borrows images from popular culture, advertising, the mass media, other artists and elsewhere, and incorporates them into new works of art. By taking these items out of their contexts and presenting them in new forms, combinations, or contexts, artists transform their meaning and force the viewer to reconsider his or her former understandings about a certain image. Appropriation art traces its origins back to Conceptual Art and, before, to the “readymades” of Marcel Duchamp, works (objet tout fait) consisting entirely of everyday objects presented largely unchanged as “art.” The originality and artistic value of these kinds of works lies in the new meaning associated with the work and in the artistic gesture, and not in its external aspect or form.
Under a legal perpective, the main question arising out of Appropriation Art is whether the second work is a copy (thus, a counterfeit), a derivative work (requiring the copyright owner’s consent to exploit the work of art) or, instead, a totally new and original work. To answer this question, this dissertation examines whether the appropriation artwork can be considered original under a copyright law standpoint, and analyzes the relationship between the appropriated work and the second work. Sometimes the works of Appropriation Art can be considered lawful as parody, insofar as they transform the meaning of a previous work for comic effect, creating a new artwork.
This dissertation also analyzes the transformativeness relevant under the fair use analysis within US copyright system as well as the key fair use Appropriation Art cases handed down by US courts. In particular, the analysis focuses on the Jeff Koons and on the Mattel cases, and addresses the Cariou v. Prince case, relating to the alleged copy by renowned appropriation artist Richard Prince of Cariou’s portraits of Jamaican Rastafarians for use in a series of paintings by Prince titled “Canal Zone”. In this case, the court held that the message behind the use of Cariou’s photos in “Canal Zone” was so different from Cariou’s message in the original portraits that Prince had transformed their meaning and therefore created new art. Italian courts addressed Appropriation Art only in one case, concerning the use by appropriation artist John Baldessari of certain works made by Alberto Giacometti.
Finally, it is necessary to analyze Appropriation Art also under a trademark law standpoint, to assess whether appropriation of a mark can be considered trademark infringement.
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Nyman, Metcalf Katrin. "Activities in space - appropriation or use? /." Uppsala : Iustus Förl, 1999. http://www.gbv.de/dms/spk/sbb/recht/toc/329933493.pdf.
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Anderson, James Scott. "Monotheism and Yahweh's Appropriation of Baal." Thesis, University of Sheffield, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540541.
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Clinch, Sarah. "Supporting user appropriation of public displays." Thesis, Lancaster University, 2013. http://eprints.lancs.ac.uk/70431/.
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Despite their prevalence, public engagement with pervasive public displays is typically very low. One method for increasing the relevance of displayed content (and therefore hopefully improving engagement) is to allow the viewer themselves to affect the content shown on displays they encounter – for example, personalising an existing news feed or invoking a specific application on a display of their choosing. We describe this process as viewer appropriation of public displays. This thesis aims to provide the foundations for appropriation support in future ‘open’ pervasive display networks. Our architecture combines three components: Yarely, a scheduler and media player; Tacita, a system for allowing users to make privacy-preserving appropriation requests, and Mercury, an application store for distributing content. Interface points between components support integration with thirdparty systems; a prime example is the provision of Content Descriptor Sets (CDSs) to describe the media items and constraints that determine what is played at each display. Our evaluation of the architecture is both quantitive and qualitative and includes a mixture of user studies, surveys, focus groups, performance measurements and reflections. Overall we show that it is feasible to construct a robust open pervasive display network that supports viewer appropriation. In particular, we show that Yarely’s thick-client approach enables the development of a signage system that provides continuous operation even in periods of network disconnection yet is able to respond to viewer appropriation requests. Furthermore, we show that CDSs can be used as an effective means of information exchange in an open architecture. Performance measures indicate that demanding personalisation scenarios can be satisfied, and our qualitative work indicates that both display owners and viewers are positive about the introduction of appropriation into future pervasive display systems.
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Ілляшенко, Сергій Миколайович, Сергей Николаевич Ильяшенко, Serhii Mykolaiovych Illiashenko, and M. O. Baskakova. "Ecomarketing appropriation at the JSC "Sumyhimprom"." Thesis, Видавництво СумДУ, 2004. http://essuir.sumdu.edu.ua/handle/123456789/22933.
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Gavarri, Laurent. "Le bien information : Possession, Appropriation, Exploitation." Toulon, 2008. http://www.theses.fr/2008TOUL0054.
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L'information est une chose dont on peut observer les manifestations concrètes dans l'exercice d'un pouvoir de jouissance par son détenteur. Il s'agit d'une véritable possession qui, en l'absence de consécration d'un droit privatif sur la chose, peut être protégée, de manière très incomplète par le droit pénal, plus efficacement par la responsabilité civile. La maîtrise de l'exploitation commerciale des informations personnelles peut également être assurée de façon paradoxale par les droits de la personnalité. La réservation privative de la chose a cependant des limites et des impératifs d'intérêt général peuvent jusitifier le renours à la catégorie des choses communes afin de soustraire la chose information à la jouissance égoïste. Lorsque le besoin de protection est trop important, le législateur peut intervenir pour consacrer des monopoles exclusifs d'exploitation, caractérisés par leur opposabilité "erga omnes", qui constituent de véritables propriétés de l'information. Une nouvelle intervention du législateur, afin de consacrer un droit adapté au faible degré de créativité de certaines productions est alors envisageable. Ce droit devra être non exclusif et céder face à une exploitation différente, afin de ne pas interdire le développement de nouvelles valeurs. Il pourra être également appliqué à l'exploitation patrimoniale des informations personnelles. Un type particulier d'informations mérite enfin l'élaboration d'une protection spécifique. Il s'agit des découvertes scientifiques dont la valeur patrimoniale est révélée par l'exploitation d'une application industrielle. C'est alors cette exploitation qui doit faire naître un droit à rémunérationConcrete expression of information can be observed through the exercise of a power of use by its possessor. This is a matter of true possession, which in the absence of the establishment of property rights in respect of the "chose", can be protected, in a very incomplete way by criminal law, and moire effectively by civil liability. The control of commercial exploitation of personal information can also be ensured in a paradoxical manner by the rights inherent to the human being. Private reservation of the "chose" has limits however and the imperatives of general interest can justify recourse to category of common things in order to excluse the information from selfish use. When the need for protection is too significant, the legislature can intervene so as to establish exclusive monopolies of exploitation, characterized by their "erga omnes" opposability, which consitutes true property of information. A new intervention by the legislature, so as to establish a right adapted to the weak degree of creativity of productions is therefore conceivable. This right must be non exclusive and must give values. It could also be applied to the patrimonial exploitation of personal information. Lastly, a particular type of information deserves the elaboration of a specific protection. It is a question of scientific discoveries, the patrimonial value of which is a revealed by the exploitation of an industrial application. It is therefore this exploitation that must give birth to right to remuneration
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Jochum, Elizabeth Ann. "Inclining east: Theatrical appropriation of kabuki." Connect to online resource, 2008. 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:1453559.
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Robards, Andrew. "Repetition, revision, appropriation and the Western." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12843.
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The aim of this research paper is to demonstrate the innate dialogue that exists between the Western genre and Contemporary Art practice. Initially, the fundamental qualities of a ‘Classic’ Western are defined, before moving on to a broader examination of the genre’s key developments and evolutions post World War II. Using George Steven’s Shane as a case study, the paper traces the prominent position of appropriation inside the meta-cinematic form, whilst also tying various filmic examples to the practice’s of visual artists who employ congruous strategies when developing their own work. The paper concludes with a detailed exploration of my own creative practice, highlighting how my theoretical research has informed a body of work that employs prominent connections and appropriations from both cinematic and artistic forms of expression. The exhibited component of my studio research is a three part installation and accompanying online database of film stills. Each piece in the body of work explores the position of the Western genre in the cinematic and contemporary art contexts, representing a refined culmination of my various work and its development through a sustained process of visual and theoretical investigation. All four parts of the project employ the well established revisionist imperatives that characterise the Western and Contemporary Art spheres. Through the combination of these shared practices my work seeks to hybridise the two traditionally separate, but increasingly homogeneous creative mediums.
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Oliver, Desmond Mark. "Cultural appropriation in Messiaen's rhythmic language." Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:54799b39-3185-4db8-9111-77a8b284b2e7.
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Bruhn (2008) and Griffiths (1978) have referred in passing to Messiaen's use of non-Western content as an appropriation, but a consideration of its potential moral and aesthetic failings within the scope of modern literature on artistic cultural appropriation is an underexplored topic. Messiaen's first encounter with India came during his student years, by way of a Sanskrit version of Saṅgītaratnākara (c. 1240 CE) written by the thirteenth-century Hindu musicologist Śārṅgadeva. I examine Messiaen's use of Indian deśītālas within a cultural appropriation context. Non-Western music provided a safe space for him to explore the familiar, and served as validation for previously held creative interests, prompting the expansion and development of rhythmic techniques from the unfamiliar. Chapter 1 examines the different forms of artistic cultural appropriation, drawing on the ideas of James O. Young and Conrad G. Brunk (2012) and Bruce H. Ziff and Pratima V. Rao (1997). I consider the impact of power dynamic inequality between 'insider' and 'outsider' cultures. I evaluate the relation between aesthetic errors and authenticity. Chapter 2 considers the internal and external factors and that prompted Messiaen to draw on non-Western rhythm. I examine Messiaen's appropriation of Indian rhythm in relation to Bloomian poetic misreading, and whether his appropriation of Indian rhythm reveals an authentic intention. Chapter 3 analyses Messiaen's interpretation of Śārṅgadeva's 120 deśītālas and its underlying Hindu symbolism. Chapter 4 contextualises Messiaen's Japanese poem Sept haïkaï (1962) in relation to other European Orientalist artworks of the late-nineteenth and early-twentieth centuries, and also in relation to Michael Sullivan's (1987: 209) three-tiered definitions of japonism.
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Tjernström, Sune. "Finrummets reklam : Appropriation av konstverk i annonser." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-14830.
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The purpose of this study was to analyze recent appropriations of works of art in advertising. Why was art infused into magazine advertisements, how were the works of art tampered with to achieve commercial goals, how well did they function together with the ad copy? What did these advertisements want? What did the artwork contribute to the commercial message? These were some of the questions asked in the study that involved a closer look at four appropriations: one based on a battle painting by the Swedish 1900th century artist Carl Wahlbom, with a commercial message printed on top; one a collage including an 18th century portrait of Marie Antoinettte by Elisabeth Vigée-Lebrun; one advertisement was influenced by Dutch 1700th century still lifes, and, finally, one paraphrased Velázquez’s famous painting Las Meninas from 1655. Companies behind the advertisements featured a Swedish trade journal, a fashion exhibition in Paris, a shop for kitchen utensils in Stockholm, and an up-scale department store in Madrid.The ads, in different ways based on works of art, were evaluated as reasonably successful commercial messages. These ads, however, hardly qualified as works of art in their own right – if that was the intention. A critical observer would tend to see the ads as ways of borrowing cultural capital from the world of art.One observation made as a result of the study was the need for insights into possible interpretations of the original work of art not to have the commercial message misunderstood.
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Blair, Derek Olivier. "A cognitive explanation of symbolic-religious appropriation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0026/NQ49481.pdf.
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Maeseneire, Wouter De. "Essays on Firm Valuation and Value Appropriation." [Rotterdam]: Erasmus Research Institute of Management (ERIM), Erasmus University Rotterdam ; Rotterdam : Erasmus University Rotterdam [Host], 2005. http://hdl.handle.net/1765/6768.
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Glass, Marguerite Anne. "Vermeer in dialogue from appropriation to response /." College Park, Md. : University of Maryland, 2003. http://hdl.handle.net/1903/349.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2003.Thesis research directed by: American Studies. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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FORTE, LEONARDO NABUCO VILLA. "WRITINT WITHOUT WRITING: LITERATURE MADE THROUGH APPROPRIATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=26038@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Em 2011, Kenneth Goldsmith, poeta, artista e professor da Universidade da Pensilvânia, lançou o livro Uncreative Writing, que poderíamos traduzir como escrita não-criativa ou escrita recriativa , para designar o processo de trabalho que resulta em obras textuais cujos textos, porém, não foram originalmente escritos por seus autores, mas sim reescritos ou transcritos a partir de fontes – sem mudanças no texto original – ou editadas e rearranjadas por meio da descontextualização e recontextualização desses textos pré-existentes. A dissertação utiliza-se desse conceito, assim como o de gênio não-original , de Marjorie Perloff, e o de pós-produção , de Nicolas Bourriaud, para analisar a figura do escritor-apropriador e as consequências, na atualidade, dos procedimentos de seleção e deslocamento no que diz respeito à questão da autoria: trata-se de verificar como tais práticas operam a quebra de fronteiras entre as posições de leitor e autor. Pretende-se investigar também de que maneira as obras selecionadas como corpus propõe formas não tradicionais de construir escrita e leitura, e suas relações com as artes plásticas e as novas ferramentas tecnológicas.
In 2011, the poet, artist and University of Pennsylvania teacher Kenneth Goldmisth launched the book Uncreative Writing, in which he designates the processes that leads to literary works where the text is not originally written by the author, but rewritten or transcript from pre-existant fonts – with no change in the original text – or edited and rearranged by descontextualization and recontextualization of these found texts. The dissertation makes use of this concept, as well as of unoriginal genius , by Marjorie Perloff, and post- -production , by Nicolas Bourriaud, to analyze the figure of the writerappropriator and the consequences, today, of the procedures of selection and displacement in relation to the ideia of authorship. The work verifies how those practices operate a fracture in the borders between the reader and the author positions. Also, the dissertation intends to investigate how the literary works on the selected corpus propose non-traditional ways of reading and writing, and how they relate to the plastic arts and the new technological tools.
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Aguilar, Maria Gloria E. "Appropriation and resistance in Philippine Marian devotion." Thesis, London Metropolitan University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491280.
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This dissertation is a postcolonial study of Philippine Marian devotion using, among others,M. M. Bakhtin's theory of dialogism and Homi Bhabha's theories on ambivalence (the "simultaneous desire for and disavowal of a given object"), mimicry and hybridity. It is also a historical study of Philippine Marian devotion, and it differentiates Philippine Mariology from the Latin American (both locations being former Spanish colonies and thus historically and culturally connected) in the way that Philippine pre-Hispanic animistic religion has shaped and continues to shape Philippine religiosity today. The syncretic or hybrid religiosity that emerged as a result of transculturation has, in the past, provided the impetus for native rebellion and resistance against the colonizers. As a specific example of this kind of religiosity, Marian devotion may also therefore be seen as a site of appropriation and resistance. Although the methods of appropriation, resistance and subversion are quite subtle, they may in fact be seen in the ambivalent attitudes to Mary that can be found among Filipinos in general: while people seemingly subscribe to the Marian stereotypes perpetuated by the Philippine Catholic Church and the dominant social classes,t here is neverthelessa subversion of these stereotypes through an active re-situating or re-contextualizing of Marian symbolism. Indeed, while in many Philippine Marian events (e. g. the Marian festival or the Marian apparition) the traditional (or Church advocated) formats are generally followed, they have become objects of, to use Bhabha's terminology, mimesis or parody. Moreover, this ambivalence towards Mary is extended towards the Catholic faith as a whole, which has historically been associated with the legitimation of colonial authority. The importance of this study is that, while many Filipino academics have written about the Passion of Christ and its significance for the colonized Filipino, there has been no attempt to analyze the Filipinos' identification with Mary as a form of resistance against oppressive colonial and neo-colonial discourses.
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Pettersson, Johanna. "Ett rollspel : självporträttet som iscensättning och appropriation." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-508.
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Mitt examensarbete behandlar frågeställningen: Hur gestaltar iscensatta och approprierade självporträtt identitet och kön/genus och vad får det för konsekvenser för hur vi betraktar oss själva och andra människor? Jag vill med min undersökning försöka problematisera och vidga sätten att använda självporträtt på som uppgift i skolan. Att visa upp hur samtida konstnärer jobbar med självporträtt, tror jag kan skapa en mer dynamisk bild av vad ett självporträtt är och kan vara för eleverna. Att göra ett självporträtt betyder inte att man måste visa sitt ”riktiga jag”. Det kan handla om att leka och försätta sig själv i olika roller, vilket kan upplevas som väldigt befriande och lustfyllt. I viss mån kan man säga att vi människor alltid spelar en roll, men i konsten kan man dra dessa roller till det extrema. I uppsatsen analyseras tre stycken självporträtt som alla är skapade efter 1980. De har alltså kommit till i vad man inom konsten kallar för postmodernismen. Det är Andy Warhols Self-portrait (in Drag), 1981, Cindy Shermans Untitled #224, 1990 och Charlotte Gyllenhammars Nachsagen – Ich und Meinhof (B 3), 2004. Urvalet är grundat på att konstnärerna i de här verken på ett tydligt sätt arbetar med självporträttet som iscensättning och appropriation vilket är det jag vill titta närmare på och undersöka. De huvudsakliga teoretiska perspektiven som används är semiotiken och psykoanalysen. I analyserna går jag först in på vad man inom semiotiken kallar för den manifesta nivån. Med andra ord en beskrivning av hur bilden är uppbyggd och vad som konkret finns där att se. Efter det går jag över på den latenta nivån, alltså vad dessa synliga tecken kan ha för underliggande betydelser. Resonemangen som uppstår ur detta kopplas sedan till teorier som framför allt kan knytas till psykoanalysen, som bland annat den manliga blicken, kvinnlig maskerad, kön och genus. I min gestaltning har jag arbetat med att göra egna iscensatta och approprierade självporträtt. I en serie fotografier och broderier har jag undersökt identitet och kön/genus på ett visuellt gestaltande plan. Parallellt med mitt skrivande har jag använt min egen kropp för att visa att vi människor är så mycket mer komplexa än de begrepp som vi tillskrivs. Det har varit fascinerande att få upptäcka hur bilden kan fungera som en plattform för ett rollspel som kan fortsätta i all oändlighet. De iscensatta och approprierade självporträtt jag analyserar visar att det inte är lika intressant att framställa sig själv så som vi är vana att traditionella självporträtt ser ut längre. Istället fokuserar konstnärerna på att försöka få oss att förstå att det sätt som vi ser oss själva och våra medmänniskor på är konstruerat av det samhälle vi lever i. En värld som upprättat två olika kön vilka tillskrivits olika egenskaper och attribut. Där kvinnan är objektet och mannen utgör normen för hela samhällskonstruktionen. Han har makten och det är hans begär som styr blicken. Andy Warhol, Cindy Sherman och Charlotte Gyllenhammar bilder bidrar alla till att ifrågasätta denna makt och blick. De är en del i arbetet att skapa medvetna betraktare som förstår att kvinnan inte är ett objekt och att maskuliniteten inte tillhör mannen och feminiteten inte tillhör kvinnan. För att kunna få en universell jämställd blick måste den manliga blicken analyseras och nedmonteras. Blicken kan förändras, men det förutsätter att vi ständigt ifrågasätter den. Att i bildundervisningen arbeta med frågor som rör identitet och kön/genus genom självporträtt tror jag kan bidra till att förändra synen på vad som är ”normalt”. Skolan är en plats där ungdomar dagligen försöker anpassa sig till rådande normer för att passa in och känna att de tillhör en grupp. Vi behöver öppna upp gränserna vi sätter upp för oss själva och andra. Den ”normala människan” existerar inte någon annanstans än i fantasin.BI/Konst
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Naylor, S. "Non-proportionally damped structures using force appropriation." Thesis, University of Manchester, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680135.
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Herodotou, Christothea. "Game appropriation : where does the gamer fit?" Thesis, University College London (University of London), 2009. http://oro.open.ac.uk/49459/.
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The socio-technological transformation of digital games means that they are no longer single-player, co-located game experiences but instead are multiplayer socially-oriented ones (e.g. World of Warcraft). This change underpins the central concern of this thesis, to understand game appropriation and the intrinsically motivating nature of gaming. Game appropriation is defined as the broad incorporation of Massively Multiplayer Online Role-Playing Games (MMORPGs) into gamers’ daily practices, including the nature of their gameplay. Gaming is not viewed as a set of defined moments of participation but as a dynamic activity, directly interrelated with a gamers’ everyday life. Therefore, a broad perspective on motivation and gaming is adopted, incorporating not only reinforcing aspects of game design but also acknowledging the role of the social context and the gamer as an individual during gameplay. The findings of three studies showed that game design, social interaction and gamers’ psychological characteristics uniquely interplay to support game appropriation. The key findings are: (i) Flexible game design is a prerequisite for game appropriation; multiple game structures enable the creation of collaborative and competitive relationships and contribute to innovative forms of play; (ii) Diverse forms of social interaction, within and around gameplay, define the nature of game appropriation; (iii) The role of the gamer in game appropriation is critical. The gamer as an individual is the agent defining the distinct social forms of play when shaping the game experience, underpinned by certain psychological characteristics. While gamers with higher trait emotional intelligence (trait EI) play for social interaction per se, those with lower trait EI make purposive use of sociality in order to progress and succeed in the game. Similarly, on a needs scale (Basic Psychological Needs Scale) lower scorers on autonomy are more prone to competitive and instrumental social gaming practices; (iv) The process of game appropriation is progressively developed, influenced by the type of in-game activities and novel game features, trait EI scores and the presence of other gamers in the game. In summary, game appropriation, being game-specific, begins with the interaction between the gamer and a flexible game design and becomes socially negotiated within a community of gamers. The final social configuration -instrumental or social per se- is influenced by certain psychological characteristics of gamers as individuals.
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PAZ, MANUEL. "Appropriation de la langue et changement d'attitude." Paris 8, 1989. http://www.theses.fr/1990PA080488.
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Le principal objectif de cette recherche etait d'etablir et ensuite de tenter d' expliquer les changements d'attitude chez des etudiants classifies dans des groupes paradigmatique (p), syntagmatique (s) et paradigmatique syntagmatique (p s), a partir de deux articles de journaux et se prononcant en faveur ou contre le theme des nationalisations. Nous avons transforme la texture de ces articles pour les rendre conforme au type textuel (textuel favorable vs textuel defavorable) et au type interlocutoire (discours interlocutoire favorable vs interlocutoire defavorable). A l'issue de ces experimentations que nous avons menees il semble etabli qu'il y ait un effet de l'argumentation sur tous les groupes. Cet effet conduit les sujets soit a consolider leur opinion initiale, soit a la modifier dans un sens contraire, ceci etant plus particulierement sensible chez les sujets qui a l'origine avaient une position mediane par rapport au probleme des nationalisations. Cette influence est due particulierement : - un effet phase (phase 3 - phase 2 - phase 1), c'est-a-dire la passation d'arguments contraires a leur attitude de depart (15 jours d'intervalle apres la 1ere passation et 3 semaines apres la 2e passation au meme groupe de sujets p, s, p s) aboutit a un changement d'attitude, tel que le changement d'attitude final a ete plus important que le changement d7attitude initial. - un effet texture (interlocutoire vs textuel). Dans tous l'argumentataire interlocutoire a un impact persuasif plus grand que celui de l'argumentaire textuel.
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Dunn, Ridgely. "Challenging Appropriation: Modern Moko and Western Subculture." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1301937973.
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Dixon, Imani. "Revealing Identity Through the Lens of Appropriation." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491307241886434.
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Hénocque, Bruno. "Diffusion, appropriation, médiation et messageries électroniques d'entreprise." Paris 8, 1997. http://www.theses.fr/1997PA081237.
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Le but de cette these est d'etudier comment les utilisateurs s'approprient les messageries electroniques et les processus conflictuels qui apparaissent avec ce nouveau media. Le processus de changement est dynamique, dialectique et permanent. Elle comprend trois parties : la premiere partie consiste a examiner les approches theoriques des strategies de communication, en particulier les modeles de la diffusion et de la traduction dans et entre les organisations. La conduite du changement depend de points sensibles comme les problemes-cles des besoins en information et communication, les representations sur la nouvelle technologie et l'influence personnelle des leaders d'opinion. La deuxieme partie consiste a decrire et a analyser les conditions pratiques du processus d'appropriation des messageries electroniques et des usagers dans 92 entreprises. Les strategies de communication, les performances des dirigeants et des leaders d'opinion, les types de conflits, les obstacles culturels et les degres de satisfaction de 99 cadres superieurs sont evalues. La troisieme partie consiste a interroger ce que recouvre la fonction de mediation pendant l'introduction des systemes de messageries electroniques, les besoins ethiques, les risques de surinformation, les conditions de travail de groupe electronique dans les entreprises, les obstacles juridiques et les aspects securitaires durant le processus d'innovationThe aim of this study is to examine how users personalize e mail and the conflict process which appears with this new media. The change process is dynamic, dialectic and continuous. It consists of three parts. The first part consist in examining the theorical approaches of communication strategies, specially diffusion and "translation" models in and between organizations. The behaviour change depends on sensitive points such as the key problems of information and communication needs, new technology representations and the personal influence of opinion leaders. The second part consists in describing and analysing the practical conditions of email appropriations and uses in 92 firms. The communication strategies, performances of managers and opinion leaders, types of conflicts, cultural obstacles and degrees of satisfaction of some 99 seniors management executives are assessing. The third part consists in reflecting about the scope of the communication mediation during the introduction of e mail systems, ethic needs, risks of overinformation, conditions of groupware in firms and obstacles of law and some security aspects during the innovation process
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Christopher, Dany. "The appropriation of Passover in Luke-Acts." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11541/.
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Within Lukan scholarship, studies on the theme of Passover have mostly been confined to the pericope of the Last Supper (Luke 22:1–20). Few have ventured outside it and explored the presence, let alone the significance, of the theme in other passages throughout Luke-Acts. Thus, the aim of this study is to show where, how, and why Luke appropriates the theme of Passover in his writings. I propose that besides the passion narrative, allusions to Passover can be found in three other sets of passages: the infancy narrative, the Parousia discourses in Luke 12 and Luke 17, and the rescue stories of Peter (Acts 12) and Paul (Acts 27). My investigation shows that the theme of Passover plays a major role in how Luke structures his narratives. I also show that Luke associates Passover with Jesus’ passion, enabling him to convey the message of God’s salvation. The pairing of Passover and passion for explaining the salvation of God is not limited to the passion narrative. Instead, it is present in other Passover-related passages throughout Luke-Acts. Using the foundational story of Passover in Exodus 12–13 as my point of departure, I begin my research with an analysis of references to Passover in early Jewish writings (Chapter 2). This chapter helps to set Luke within broader Jewish interpretive traditions. Next, I examine the Lukan text, beginning with the passion narrative (Chapter 3), where allusions to Passover are most concentrated and least disputed by scholars. This chapter prepares us to understand allusions to Passover in the infancy narrative (Chapter 4), two Parousia discourses (Chapter 5), and two particular rescue stories in Acts (Chapter 6). The final chapter synthesises all the findings (Chapter 7).
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Polito, Roberto. "The sceptical road : Aenesidemus' appropriation of Heraclitus /." Leiden : Brill, 2004. http://catalogue.bnf.fr/ark:/12148/cb39218422h.
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Goldwasser, Sharon. "VOCAL APPROPRIATION IN THE LESSER GOLDFINCH (ARIZONA)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291759.
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Pipek, V. (Volkmar). "From tailoring to appropriation support: Negotiating groupware usage." Doctoral thesis, University of Oulu, 2005. http://urn.fi/urn:isbn:9514276302.
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Abstract
This thesis contributes to the field of collaborative information systems and Computer-Supported Cooperative Work (CSCW). It extends the notion of technological support for design activities "in use" beyond providing the flexibility to tailor collaborative software, to provide means to support the appropriation process of these tools in their application fields.
Two long-term studies on the evolution of usages of collaborative software in a German authority and in a network of freelancers in the field of consulting form the foundation of this work. Based on the experience there, it was possible to identify user activities that drive the appropriation process and to establish a perspective on the appropriation of a Groupware as a social process. Appropriation can be described as a collaborative effort of end users, who perform "appropriation activities" to make sense of the software in their work context. Besides activities to configure the software to fit into the technological, organisational and individual work context of the users ('Tailoring'), there is a larger area of technology-related communication, demonstration and negotiation activities aimed at establishing a shared understanding of how a software artefact works and what it can contribute to the shared work context. The mutual shaping of the technology and organisational contexts resemble an ongoing design process that end users perform largely without any involvement of professional developers.
This perspective is the guiding line for developing means for "Appropriation Support", i.e., means to support the appropriation activities that end users perform. To inform the design of appropriation support measures and functions, current approaches that capture the collaborative dimensions of tailoring, and the necessities of 'discourse ergonomics' for technology-related online communication are explored. The trend to work with a tool 'infrastructure' instead of monolithic Groupware tools is a complicating yet important secondary consideration here, since it demonstrates the necessity to offer support 'beyond one tool' to support a use-oriented perspective on appropriation.
The resulting idea of 'Use Discourse Environments' as a main concept for appropriation support which captures the activities of communication, demonstration and negotiation as well as the activity of tailoring (where possible) was implemented and evaluated in two prototypes that refer to the application fields of the initial studies. The idea of integrating online discourse, tool representations and tailoring facilities served as a guideline for the use discourse both in an event notification service as well as in the 'Online Future Workshop' that addressed a shared inter-organisational software development infrastructure. Based on the evaluations, design recommendations for appropriation support are made, and the problematic nature of appropriation activities as 'infrastructural work' versus the 'productive work' that end users consider their main area of work is addressed. The thesis concludes with a vision of collaborative software tools that do not only provide their original services, but also address end users as a 'virtual community of technology practice'.
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Green, Fiona Mary. "The poetry of Marianne Moore : approximation and appropriation." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260525.
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Craig, Steven. "'Our Gothic bard' : Shakespeare and appropriation, 1764-1800." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3067.
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In recent years, Gothic literary studies have increasingly acknowledged the role played by Shakespeare in authorial acts of appropriation. Such acknowledgement is most prominently stated in Gothic Shakespeares (eds. Drakakis and Townshend, 2008) and Shakespearean Gothic (eds. Desmet and Williams, 2009), both of which base their analyses of the Shakespeare-Gothic intersection on the premise that Shakespearean quotations, characters and events are valuable objects in their own right which mediate on behalf of the 'present' concerns of the agents of textual appropriation. In light of this scholarship, this thesis argues the case for the presence of 'Gothic Shakespeare' in Gothic writing during the latter half of the eighteenth century and, in doing so, it acknowledges the conceptual gap whereby literary borrowings were often denounced as acts of plagiarism. Despite this conceptual problem, it is possible to trace distinct 'Gothic' Shakespeares that dismantle the concept of Shakespeare as a singular ineffable genius by virtue of a textual practice that challenges the concept of the 'genius' Shakespeare as the figurehead of genuine emotion and textual authenticity. This thesis begins by acknowledging the eighteenth-century provenance of Shakespeare's 'Genius', thereby distinguishing between the malevolent barbarian Gothic of Shakespeare's own time and the eighteenth-century Gothic Shakespeares discussed under the term 'appropriation'. It proceeds to examine the Shakespeares of canonical Gothic writers (Horace Walpole, Ann Radcliffe and Matthew Lewis) as well as their lesser-known contemporaries (T.J. Horsley Curties and W.H. Ireland). For instance, Walpole conscripts Hamlet in order to mediate his experience of living in England after the death of his father, the first Prime Minister Robert Walpole. The thesis then argues for the centrality of Shakespeare in the Gothic romance's undercutting of the emergent discourses of emotion (or 'passion'), as represented by the fictions of Radcliffe and Lewis, before moving on to consider Curties's attempted recuperation - in Ethelwina; or, the House of Fitz-Auburne (1799) - of authentic passion, which is mediated through the authenticity apparatus of Edmond Malone's 1790 editions of Shakespeare's plays. It concludes with W.H. Ireland's dismantling of Malone's ceoncept of the 'authentic' Shakespeare through the contemporary transgressions of literary forgery and the evocation of an illicit Shakespeare in his first Gothic romance, The Abbess, also published in 1799.
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Elbot, Morgan Bradfield. "Valuing water| A normative analysis of prior appropriation." Thesis, Colorado State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1564448.
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This thesis aims to provide a normative evaluation of the Western U.S. water law of prior appropriation through a contextual analysis of water value pluralism. The first chapter begins with a preliminary account of the major justificatory arguments made in defense of prior appropriation, followed by two critiques that undermine some proposed advantages of the water policy. The purpose of this analysis is to elucidate the normative claims that underlie many of the arguments within this debate but which fail to be made explicit. It becomes clear that these normative claims assume a utilitarian criterion for resource distribution, according to which water is primarily viewed as an economic good with a monetary value. The second chapter challenges the legitimacy of this assumption by introducing non-monetary water values, with attention to the particular social and cultural contexts in which they emerge. Through a review of four economic proxies, these non-monetary water values are shown to be incommensurable with monetary valuations. Finally, the third chapter offers a theoretical framework for the incorporation of non-monetary water values into resource distribution decisions. From this normative analysis, it is concluded that a necessary condition for achieving just resource distribution decisions is for prior appropriation to incorporate value pluralism by recognizing the legitimacy of non-monetary water values.
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McGrath, Thomas. "Shakespeare and management : a study in cultural appropriation." Thesis, University of Leicester, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423700.
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NOGUEIRA, MARIA ALICE DE FARIA. "CONSUMPTION AND PUBLICITY: LOCAL APPROPRIATION AND GLOBAL MESSAGE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=16030@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOREste trabalho tem como objetivo analisar a importância da localidade da cultura na apropriação da comunicação publicitária global e a maneira com que se dá a recepção da mensagem à luz de novas referências culturais mundializadas. A abordagem ao tema é feita a partir de uma visão histórica do consumo e da análise da publicidade como ferramenta de afirmação dos valores culturais por meio da divulgação para aquisição, posse e uso dos bens. Para traçar este caminho, foram utilizados teóricos das ciências sociais e da comunicação que estudaram as mudanças nos padrões de consumo como um importante campo de reflexão sobre o indivíduo e suas práticas sociais na cultura contemporânea. Como estudo de caso, foi utilizada a campanha global Viva o Lado Coca-Cola da Vida.
This work analyzes the importance of local culture in the appropriation of global advertising campaigns and the way message is received within new world cultural references. The topic is discussed within the framework of a historical view of consumption and the analysis of advertising as a tool to affirm cultural values by means of campaigns for acquisition, ownership and use of goods. In order to carry out the work, we focused on authors, in the field of social sciences and communication, who saw the changes on patterns of consumption as important to the understanding of people and his/her social practices in contemporary culture. The global campaign Live the Coca-Cola side of life was used as a case study.
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Hoare, Katharine. "Understanding Egyptianizing obelisks : appropriation in Early Imperial Rome." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/422139/.
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Re-use of ancient Egyptian architectural styles outside Egypt began in the time of the pharaohs and continues to the present day. The style draws on the structures, elements and motifs of ancient Egypt using both ancient and replica/pastiche pieces. I will argue that appropriation of the style should be seen as an active process designed to create a cultural object with specific meaning within the coeval social world. Drawing on the tenets of reception theory, I aim to explore the appropriation of Egyptian obelisks to early imperial Rome by considering the social circumstances, possible producer motivation and potential audience responses to the monuments. I will propose that the appropriation of Egyptian obelisks to Rome is a creative negotiation that prioritises particular aspects of the monument to address specific economic, political and religious circumstances within the appropriating society. At the same time it is important to consider the coeval perceptions of Egypt circulating in Rome and how these perceptions impact on the selection and reception of obelisks in the city. Central to my research is the presentation of a data set relating to fourteen obelisks appropriated to Rome, a detailed discussion of the ‘transfer vehicles’ which carried crucial information about ancient Egypt and obelisks from Egypt into the Roman world, and the identification of clusters of appropriation points within the imperial period; all of which help to create a more nuanced picture of why at least fifty obelisks were raised in Rome and how we might start to understand these acts of appropriation two thousand years later.
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Harley, Dave. "Older people’s appropriation of computers and the Internet." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/7602/.
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This thesis looks at how older people integrate computers and the Internet into their everyday lives and make these technologies their own as part of their broader experience of ageing. The thesis starts by considering the limits of current ‘deficit-driven' models of accessible design used in relation to older people and highlights a need to develop new approaches which can accommodate the adaptive and ‘positive' capacities that emerge with advanced age. The approach subsequently developed provides a consideration of older people's situated and subjective experiences in relation to computer and Internet engagement as part of their adaptations to ageing. Qualitative and ethnographic data in the form of participant observations, contextual interviews and video-based observations are all used to examine the ways in which older users identify computers and the Internet as relevant and construct meaningful uses for them over time. Four case studies are used to explore the contextual and subjective determinants of these emerging psycho-socio-technical relationships over time and in different contexts. Through grounded analysis patterns are established in the data which outline persistent qualities of these emerging relationships in relation to ageing. A psycho-socio-technical process known as ‘appropriation' is used to frame these adaptive relationships as they develop over time. In contrast to existing models of accessibility this analysis shows computer and Internet appropriation to be driven primarily by positive adaptations to ageing rather than its deficits. Six ‘core themes of relevance' are identified across the studies (social contact; acquiring knowledge; supporting independence; intergenerational connection; reminiscence and life review and creativity) which represent age-relevant motivations that can be used as the basis for accessible designs promoting appropriation. In addition appropriation is outlined as a cumulative developmental process with distinct phases over time. This provides a structure for supporting older people's appropriation of computers and the Internet whilst maintaining an emphasis on well-being. Finally this thesis contributes to understandings of contemporary ageing, offering insights into the potential for computers and the Internet to change the ageing experience in developed societies.
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Francis, Catrin Mair. "The politics of appropriation in French Revolutionary theatre." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/9921.
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This thesis examines the popularity of plays from the ancien régime in the theatre of the French Revolution. In spite of an influx of new plays, works dating from the seventeenth and eighteenth centuries were amongst the most frequently performed of the decade. Appropriation resulted in these tragedies and comedies becoming ‘Revolutionary’ and often overtly political in nature. In this thesis, I will establish how and why relatively obscure, neglected plays became both popular and Revolutionary at this time. I shall draw on eighteenth-century definitions of appropriation to guide my analysis of their success and adaptation, whilst the theoretical framework of pre-history and afterlives (as well as modern scholarship on exemplarity and the politicisation of the stage) will shape my research. To ensure that I investigate a representative selection of appropriated plays, I will look at five very different works, including two tragedies and three comedies, which pre-date the Revolution by at least thirty years. Voltaire’s Brutus enjoyed successive Revolutionary afterlives from 1789-1799, whereas Lemierre’s Guillaume Tell was only truly successful as political propaganda during the Terror. Meanwhile, Molière’s Misanthrope was subjected to censorship and Revolutionary alterations, but could not rival the extraordinary success of one of his lesser known comedies, Le Dépit amoureux, which suddenly became one of the most popular plays in the theatrical repertoire. Finally, Regnard’s Les Folies amoureuses became popular in the highly politicised theatre of the Revolution in spite of the fact that the comedy had no obvious connection to politics or republicanism. The power of appropriation was such that any play could become Revolutionary, as both audiences and the government used appropriation as a method of displaying their power, attacking their enemy, and supporting the progress of the French Revolution.
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Brock, Cory Clark. "Orthodox yet modern : Herman Bavinck's appropriation of Schleiermacher." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31240.
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Herman Bavinck (1854-1921), perhaps the most remarkable dogmatician and intellectual of the Dutch Reformed (gereformeerde) tradition in the late nineteenth and early twentieth centuries, committed himself to what he called a 'Reformed' and 'catholic' theological task. For the modern dogmatician, this task is neither repristination nor abandonment of one's confessionalist tradition, but, being driven along by the Scriptural witness, to appropriate 'catholic' dogma to the grammars of modern conceptual frameworks. Such a task led Bavinck to a certain eclecticism in style and source for which he earned in twentieth century scholarship the pejorative label of dualism, applied both to his person and his theological content. Regarding his person, this thesis of the two Bavincks follows a biographical narrative of a student and blossoming theologian divided between the orthodox and modern. Regarding his content, interpreters move to and fro between Bavinck the scholastic and Bavinck the post-Kantian, subjectivist dogmatician. This study nuances this picture and participates in James Eglinton's recent call for an overturning of said dualisms applied to Bavinck's person and work by outlining the most significant example of Bavinck toiling to complete his 'catholic' dogmatic task: his appropriation of Friedrich Schleiermacher. In distinction from Bavinck's milieu, he did not demonize Schleiermacher, but, while willing to critique Schleiermacher's material dogmatics, regarded Schleiermacher as 'deeply misunderstood'. The two primary locales of Bavinck's appropriation of Schleiermacher include (i) the question of the epistemic ground of the unity of being and thinking; (ii) the grammar of subjective and objective religion. In both, Bavinck adopts Schleiermacher's concepts of 'feeling', 'absolute dependence', and 'immediate self-consciousness' to complete his own logic. Understanding Bavinck's adoption of Schleiermacher's conceptual framework, particularly that of the introduction from Schleiermacher's Der christliche Glaube, makes visible just how Bavinck determined to work as a modern theologian post-Kant and within the freeing confines of his orthodox, Dutch confessionalist heritage. His appropriation of Schleiermacher is the paradigmatic example of his commitment to be orthodox - yet modern.
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Hamon, Dany. "L' appropriation d'internet par les élèves de collège." Paris 8, 2006. http://octaviana.fr/document/119081067#?c=0&m=0&s=0&cv=0.
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De nombreux élèves de collège peinent à trouver du sens à leurs apprentissages. Ces élèves sont aussi des adolescents qui ont un statut reconnu au sein de la société et baignent dans un univers médiatique depuis leur plus jeune âge. Des enseignants ont choisi d’utiliser Internet en vue de remotiver leurs élèves. Ces derniers vont-ils s’approprier ce dispositif et s’impliquer davantage dans leurs apprentissages ? Au regard de l’état de la recherche et d’une première démarche réalisée « sur le terrain », nous faisons l’hypothèse que l’appropriation d’Internet par les collégiens dans le cadre scolaire sera fonction de leur rapport à Internet en dehors du collège, des représentations des pratiques scolaires, de leurs objectifs et des ressources pour les atteindre. Les résultats tendent à pointer un clivage entre deux cultures. Les pratiques qu’ils ont d’Internet dans le cadre du collège sont souvent trop ponctuelles pour remettre en cause cette rupture entre deux universMany pupils of college pain to find direction with their trainings. These pupils are also teenagers who have statute recognized within the company and bathe in a media universe since their youth. Teachers chose to use Internet for remotiver their pupils. Will the latter will adapt this device and be implied more in their trainings ? In comparison with the state of research and a first step carried out « on the ground », we make the asumption that the appropriation of Internet by the collegians within the school framework will be related to their report with Internet apart from the college, of the representations of the school practices, their objectives and ressources to reach them. The results tend to point a cleavage between two cultures. The practices which they have of Internet within the framework of the college are often too specific to call into question this rupture between two universes
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Osborne, Albert Anthony. "The nature of dialogue in non-exploitative appropriation /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487864485230989.
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Betalmal, Atedal. "Appropriation du français par des étudiants libyens arabophones." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10199.
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Notre communication vise à mettre en lumière les erreurs des apprenants universitaires libyens de français à l’écrit. A cette fin nous nous proposons d’analyser les erreurs relevées de leurs productions écrites. Nous avons conçu notre méthode de collecte des données dans la perspective d’étudier d’abord les erreurs produites par les apprenants libyens -ce qui devrait permettre de mettre en lumière leurs points faibles- et de tenter ensuite de proposer des remédiations. Notre corpus est constitué de 127 textes écrits par des étudiants libyens qui traitent trois sujets différents. Notre contribution vise à analyser les erreurs quantitativement et qualitativement, à caractériser les non-erreurs également et à expliquer ces deux types de phénomènes. Finalement, nous nous efforcerons de proposer des moyens de remédier à leurs erreurs et de suggérer des solutions pour que les apprenants et les enseignants les évitentOur paper aims to highlight the errors in writing of Libyan learners of French at the Libyan university. To this end we propose an analysis of their errors in the written productions. We designed our method of data collection so as to be able to study first the errors produced by learners Libyan-which will highlight their weaknesses, and then try to offer remediation.Our corpus consists of 127 texts written by Libyan students dealing with three different subjects.Our contribution is to analyze the errors qualitatively and quantitatively, characterize the non-errors and also explain these two types of phenomena.Finally, we will try to suggest ways to correct the mistakes and suggest solutions for learners and teachers
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Hamon, Dany Crinon Jacques. "L' appropriation d'internet par les élèves de collège." Saint-Denis : Université de Paris 8, 2007. http://www.bu.univ-paris8.fr/web/collections/theses/THESE_Hamon_texte.pdf.
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Reproduction de : Thèse de doctorat : Sciences de l'éducation : Paris 8 : 2006.Les errata insérées dans la thèse imprimée ont été intégrées au texte de la version électronique ce qui explique les différences de pagination entre les deux versions. Titre provenant de l'écran-titre. Bibliogr. f. 420-450.
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Urso, Philip G. "Analysis of characteristics in the defense supplemental appropriation." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2002. http://library.nps.navy.mil/uhtbin/hyperion-image/02Dec%5FUrso.pdf.
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Perry, Vincent-Gerard Dulos Perry. "Soul Reborn: An Appropriation of the Motown Aesthetic." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/370959.
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In the highly lucrative and cutthroat business of popular music, the goal of record
companies is largely to produce star singers and publish hit records. Formed in 1959,
Berry Gordy’s Tamla Motown dominated the pop and R&B charts throughout the
1960s with its assembly line style of music production, which resulted in a
distinctive sound that was shared by all of the label’s artists. However, much of the
fame and prosperity has gone to only a select few involved in the production process.
Furthermore, until the release of Standing In the Shadows of Motown (Justman,
2002), much was unknown of the involvement and influence of the individuals who
made up the house band—a collection of instrumentalists known as the Funk
Brothers. Inspired by this documentary, I proposed a research project that would
focus on analysing the role of the house band in R&B record production. Central to
this research was forming an ensemble of Brisbane musicians for the purpose of
writing, recording, and producing an album of Motown-inspired original tracks—an
album entitled: Soul Sundays. It was my intention to use this album production as a
case study to analyse the ensemble dynamic within my proposed band. More
specifically I investigated whether or not it was possible to recreate the ensemble
dynamic/relationship of The Funk Brothers and how that interpersonal interaction
affects the production of a new album of recorded tracks. As well as performing the
role as band drummer, I also executed the responsibilities of lead producer and audio
engineer. Between 2014 and 2017, I oversaw the tracking of the initial rhythm
section beds and the subsequent refinement stages. Following on from the research
of Bennett (2012) and Williams (2015), I investigated my “technostalgia” with a
series of vintage instrument and recording gear experiments in order to better
understand the sonic textures that made up the famed “Motown sound.” Furthermore,
I investigated what positive or negative benefits vintage gear brought to a modern
album production. Drawing guidance from Bartleet and Ellis (2009), I utilized an
ethnographic approach to my research combining a creative journal of the production
process as well as insights from my collaborators. Ultimately, my rationale for this
research was to better appreciate the house band concept, better understand how to
appropriate various aspects of the Motown aesthetic in a modern R&B production,
and develop additional production skills in order to evolve from a drummer in to an “artist.”Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Powers, Jordan S. "Femininity, Pinterest, and the Appropriation of Jane Austen." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2373.
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This analysis is an examination of the use of Jane Austen quotes on the social networking site Pinterest in order to explore the messages disseminated by the dismantling of Austen’s works. Austen’s novels contain subtle feminist ideals that empower women to find their own unique paths. Pinterest has a large female following and the messages created and shared by women hold importance because they highlight salient values and ideas. The quotes collected were analyzed using a feminist rhetorical method. Questions of whether women were empowered outside the private sphere and encouraged to engage in independent thought guided the analysis. Findings indicated that Austen’s words are removed from context in order to reinforce hegemonic ideas of beauty, love, and intelligence. Women can engage in independent thought and exist outside the home as long as they follow socially prescribed rules that create unattainable standards and contradictory dichotomies.
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Glassco, Michael Alan. "Contested images: the politics and poetics of appropriation." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2875.
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As a tactic of dissent and political protest, appropriation artists use commercial and government images to critique power, by subverting the intended message and displaying their critique in public spaces. Appropriation activists are revolutionary subjects, graphic agitators, and rebellious bricoleurs who engage in the tactics of guerrilla semiotics, `subvertising,' fauxvertising and culture jamming, to expose advertising imagery as a system of ideology that manufactures identity, sublimates desire, and naturalizes the construction of race, class, and gender. Their tactics also indicate the attempt to reclaim public space to address the privatization of culture and the unequal access to cultural resources. The use of images and tactics of appropriation creates a more diverse array of voices in the public sphere and opens spaces for active participatory engagement with the public to address systematic asymmetries of power. The appropriation tactics and images used by Barbara Kruger, Jenny Holzer, and the Guerrilla Girls in the late seventies and eighties, for example, addressed the normalizing representations of gender, sexuality and identity in advertising and the idealized promises of consumption. In the late 1980s and 1990s, the Billboard Liberation Front, Adbsuters, Robbie Conal, and Shepard Fairey engaged in ideological warfare over the right to own, access, produce and display appropriated images. From billboards intended for commercial advertising to the display of `subvertisements' in magazines, and the un-commercials to promote Buy Nothing Day and TV Turn off Week, these activists confront the prevailing cultural apparatuses of meaning and the political economic structures that enable their power. To capture the cynical trendsetting demographic more resistant to traditional advertising, advertisers have co-opted the imagery, style and tactics of these artists. Their tactical strikes and visual style now convey hip, new, edgy and cool brand identities. Their images have also been commodified as commercial products and institutionalized art and have become fashion. As appropriation artists and advertising agencies engage in the same tactics and use the same visual style, the lines between art, appropriation and advertising have blurred and the public sphere overcome with a pastiche of visual codes.
The dissertation traces the tactics of appropriation of Barbara Kruger, The Billboard Liberation Front and Shepard Fairey as exemplars of transgression and commodification within the changing commercial conditions of neo-liberalism. Their works, tactics and strategies are emphasized as points of insight into the practices and conditions of subversion as well as the limits of hegemonic containment that reproduces the political and economic structure within which they operated. The dissertation furthers and contributes to the theoretical and methodology of critical cultural studies as it emphasizes the role of the economy and ideology in reproducing the prevailing hegemonic order. Critical cultural studies hinges on the concepts of hegemony as lived discursive and ideological struggles over meaning and communication resources within historically specific and socially structured contexts. This framework emphasizes the poetics of appropriation - the use, meaning and spaces of articulation of visual representations with the politics - the socio-economic and discursive conditions that reproduce the dominant social order.
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Smaali-Dekdouk, Dalila. "La langue française en Algérie : fonctionnement et appropriation." Aix-Marseille 1, 2000. http://www.theses.fr/2000AIX10111.
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La situation linguistique de l'Algérie se distingue par un plurilinguisme complexe où le français, face à une politique d'arabisation volontaire et à la reconnaissance des langues vernaculaires connait une diversification dialectale et une autonomisation en variétés distinctes. Parmi ces usages semble émerger une variété endogène en voie de normalisation et de reconnaissance. Cette thèse se propose de décrire cette situation dans une double perspective : sociolinguistique et linguistique. Elle se focalise en particulier sur les problèmes du lexique étudié à deux niveaux, sémasiologique et onomasiologique, en s'appuyant sur un inventaire des particularités lexicalesThe linguistic situation in Algeria can be characterized by a complicated multilinguistic system, in which french, facing with a voluntary policy of arabisation and because of the recognition of vernacular languages, knows a dialectal diversification and autonomisation due to its differents varieties Among the ways of using french it seems to emerge an endogenus variety involved in a process of normalisation and recognition. This essay aims at discribing this situation according to two different point of view : sociolinguistic and linguistic. It mainly focusses on the lexical problems which will be studied on two different levels : semasiologic and onomasiologic. We will base our study on a inventory of lexical particularisms