Dissertations / Theses on the topic 'Art and society – europe'
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Lookofsky, Sarah Elsie. "No such thing as society : art and the crisis of the European welfare state /." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3386699.
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Thesis (Ph. D.)--University of California, San Diego, 2009.Title from first page of PDF file (viewed January 19, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 243-258).
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Toplak, Cirila. "Art et société en Europe centrale : nouveaux rapports à partir des années 1980." Paris 1, 1995. http://www.theses.fr/1995PA010671.
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Cette these est une etude comparative de l'interpenetration et de l'interdependance des pratiques sociales revolutionnaires et artistiques dans le contexte specifique des processus de democratisation en cours dans l'espace historico-culturel distincte de l'europe centrale depuis le debut des annees mille neuf cent quatre-vingt. Basee sur une methodolgie historiographique essentiellement foucaultienne, cette analyse tente de contribuer non seulement a la theorisation des revolutions democrations centre-europeennes, mais etablit plus globalement aussi un lien structurel entre les pratiques revolutionnaires et artisitques du passe europeen moderneThis thesis is a comparative study of the interpenetration and interdependence of revolutionary and artistic social practices in the specific context of the democratization processes taking place in the distinctive historico-cultural space of central europe since the mineteen-eighties. Based on an essentially foucaultian historiographic methodology, this analysis attempts to contribute not only to the theorization of the central european democratic revolutions, but also establishes more golobally a structural link between revolutionary and artistic proactices of the modern european past
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Ulbrich, Claudia. "Shulamit and Margarete : power, gender and religion in a rural society in eighteenth-century Europe /." Boston ; Leiden : Brill, 2004. http://catalogue.bnf.fr/ark:/12148/cb400468526.
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Nguyen, Huu Trung. "Les marchands, fondateurs de civilisation, une épopée oubliée, XVe - XIXe siècle : une histoire sociale et culturelle de l’économie." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG049/document.
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La Civilisation devrait être vue comme une évolution des mentalités au cours du temps, en Art, en systèmes économiques, politiques et sociaux. Ce sont les marchands et entrepreneurs qui en sont à l’origine. Le grand apport des marchands est la mise en évidence de réalités économiques, sociales, politiques et artistiques, qu’il a fallu extraire de la masse d’idées reçues, dogmes ou traditions pour les faire comprendre par le profit commercial qui en fut tiré, à un certain nombre d’individus jusqu’à atteindre une certaine masse critique avant que ces réalités soient acceptées par la majorité de la population. Ce sont des marchands italiens qui ont financé et participé aux premières expéditions maritimes portugaises pour découvrir de nouvelles terres en Afrique, Amérique et en Asie. Ce sont les entrepreneurs néerlandais qui ont découvert la « valeur ajoutée » par exemple en débitant le bois en planches au lieu de vendre brut. Ce sont eux qui ont créé l’entreprise moderne en l’ouvrant à des associés extérieurs et à des actionnaires à la famille, les polices d’assurance, la pratique de la comptabilité, les journaux permettant aux marchands de connaître les événements qui peuvent influer sur les prix des produits. Ce sont aussi les marchands néerlandais qui ont fini par obtenir au 16e siècle l’autorisation légale de prendre des intérêts sur l’argent prêté, ce qui jusqu’alors était strictement interdit par l’Eglise. Ce sont les marchands d’art flamands qui, en exportant les oeuvres de Van Eyck, de Memling, de Van der Goes, en Italie qui ont donné aux artistes italiens un nouveau sens des couleurs et de l’espace. Comme ce sont les marchands de la Compagnie Néerlandaise des Indes Orientales, la VOC, qui ont initié les Japonais aux sciences et à l’art de l’Occident. Il n’est pas surprenant que ce soient ces derniers à être les premiers asiatiques à s’ouvrir à l’Occident. Ce sont également les marchands qui ont créé au 18e siècle la société de consommation, laquelle a favorisé plus durablement que toutes les révolutions la rencontre des classes sociales. Cette société de consommation a conduit à la Révolution Industrielle qui a amené à la reconnaissance des droits des travailleurs et à la prise des responsabilités sociales des patrons, comme l’assurance-Maladie, l’éducation primaire gratuite des enfants d’ouvriers, sans parler de l’évolution des concepts de marketing sans lesquels il n’y aurait pas d’économie moderne. Ce sont les Imprésarios ou marchands de spectacles qui ont favorisé la prise de conscience des femmes, des Noirs aux Etats-Unis, de leur identité sociale et culturelle, comme ce sont les créateurs du Cinéma (les Frères Pathé, Gaumont, les Juifs Américains) qui ont rendu possible la mondialisation quasi instantanée de tous les événements renforçant ainsi le pouvoir de l’Opinion Publique, garant de la DémocratieCivilization should be understood as the progress of mentalities in the course of time, whether in Art, Economic, Political and Social systems. merchants and entrepreneurs are at the origin of this evolution. The great contribution by merchants was to extract from received ideas, dogmas and traditions, realities in the economic, social, political and art fields, and to make them understood by a number of individuals thanks to the commercial profits obtained from respecting these realities. When these individuals finally reached a critical number, these realities were accepted and adopted by the majority of the population.It is Italian merchants who financed and were parts of the first Portuguese sea voyages launched to discover new lands in Africa, America and Asia. Dutch entrepreneurs discovered the concept of “added-Value” , for example by selling wood as planks ready to use. It was they who created the modern enterprise by accepting shareholders from outside the founder’s family. It was they who invented insurance policies, the practice of accounting for better management, newspapers reporting events which could have an impact of the prices of products. It is also the Dutch merchants who in the 16th century, finally obtained from the State authorities the legal right to charge interests when lending money: till then such practice was absolutely forbidden by the Church. It was the Flemish art merchants who, by exporting to Italy works by Van Eyck, Memling Van der Goes… gave to Italian artists a new understanding of colours and of space. It was the merchants from the East India Company of the Netherlands (VOC) who initiated the Japanese to the Western sciences and art. It is therefore not surprising if the Japanese were the first Asians to open up to the West. It is also merchants who, in the 18th century created the Consumers’ Society which made possible the meeting of social classes in a more long lasting way than any political revolution. This Consumers’ Society led to the Industrial Revolution which in turn led to the recognition of the workers’ rights and to the duties of business owners to assume their social responsibilities such as social security, free primary education of the workers’ children. It also led to new marketing concepts without which there would not have been modern economy. It is the impresarios or entertainers who helped women and Black people in the USA, to become conscious of their social and cultural identities. In the same way, the movie entrepreneurs (the Pathe Brothers, Gaumont and the Jews who migrated to the USA from Central Europe) made possible the instantaneous globalization of the awareness of events, thus making Public Opinion an even stronger political force, without which no Democracy would be possible
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Viaene, Vincent. "Belgium and the Holy See from Gregory XVI to Pius IX, 1831-1859 : catholic revival, society and politics in 19th century Europe /." Leuven : Leuven university press, 2001. http://catalogue.bnf.fr/ark:/12148/cb38837681n.
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Auger, Barbara. "La représentation des bateaux en Europe entre le VIIIè et le XIIIè siècle." Phd thesis, Université de Grenoble, 2011. http://tel.archives-ouvertes.fr/tel-00665915.
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L'étude de la représentation des bateaux en Europe du Nord-Ouest ne se limite pas à la seule question iconographique et pose pour l'objectif la compréhension de l'humain dans son acte représentatif. Aussi la problématique s'intéresse-t-elle à la modalité perceptive et sa mise en culture. Comprendre la représentation des bateaux durant le Moyen Age nord-européen s'attache ainsi à définir la verbalisation de l'objet technologique qu'est le navire, les modes de productions visuelles et les schémas mentaux qui lestent chacune des images tant mentales que visuelles d'un sens culturel. Il s'agit de donner une définition anthropologique de l'image du bateau restituée à son contexte de développement et d'ainsi rétablir l'intentionnalité créatrice de chacun des auteurs. Image d'un processus créatif en cours, le bateau mythologique pose donc les questions d'un comportement humain fondamental, aussi est-il important de baser cette analyse sur un questionnement épistémologique. Il s'agit de véritablement d'appréhender le mouvement créatif humain. Cette thèse est un bateau.
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Ogden, Jenna Noelle. "The Leprous Christ and the Christ-like Leper: The Leprous Body as an Intermediary to the Body of Christ in Late Medieval Art and Society." Cleveland State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=csu1305075738.
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Chalikia, Martha. "Corps, art et société : l'identité féminine dans l'art contemporain russe avant et après la chute du mur de Berlin et ses répercussions dans les autres pays orthodoxes de l'Europe de l'Est." Paris 1, 2004. http://www.theses.fr/2004PA010704.
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Corps, art et société. Si la culture se définit par rapport à ces trois notions, la création féminine dans la Russie contemporaine s'inscrit dans une quête identitaire vacillant entre les repères traditionnels et l'ouverture vers l'Occident. Se situant dans un espace en mutation permanente, se heurtant à la difficulté de discerner les frontières de l'utopie et de l'entropie, les artistes de la période qui a précédé l'effondrement communiste et de celle de la reconstruction post-soviétique ont été amenés à bâtir un " territoire de mémoire " commun. Dans un tel contexte de bouleversement idéologique, l'émancipation des femmes est loin d'être acquise. La création féminine est donc avant tout, pour les Russes, une affaire de recherche intérieure, de déconstruction - partielle et totale - du statu quo et d'invention d'une nouvelle identité. La question de l'art est indissociable d'une géographie corporelle qui surgit de l'abolition des frontières et de l'ouverture culturelle. Le corps des femmes devient de la sorte l'élément fondamental d'une création où se mêlent l'espace, l'érotisme et la religion. Ce même processus de mutation qui aboutit souvent à des interrogations existentielles définit le champ artistique dans les autres pays de l'Est, notamment ceux qui sont porteurs de la même tradition byzantine.
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Bianchi, Nicoletta. "ART RUPESTRE EN EUROPE OCCIDENTALE : CONTEXTE ARCHEOLOGIQUE ET CHRONOLOGIQUE DES GRAVURES PROTOHISTORIQUES DE LA REGION DU MONT BEGO. De la typologie des armes piquetées à l'étude des gravures schématiques-linéaires." Phd thesis, Université de Perpignan, 2013. http://tel.archives-ouvertes.fr/tel-00915928.
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Ce travail constitue une approche qualitative visant à mettre en évidence tous les indices archéologiques témoignant d'une présence humaine et d'une activité de gravure dans la région du mont Bego (Tende, Alpes-Maritimes, France) durant la préhistoire récente. L'étude typo-chronologique des gravures d'armes piquetées a fourni un intervalle chronologique débutant vers 3700 avant J.-C. et se poursuivant jusqu'à la fin de l'âge du Bronze. L'existence de matériel antérieur à cet intervalle contraint toutefois à admettre la possibilité que des motifs gravés, différents des armes, ont pu être réalisés aux débuts du Néolithique, imposant ainsi une lecture diachronique de l'ensemble piqueté de la région. La découverte de motifs dits "schématiques-linéaires" superposés par des gravures piquetées dément en outre l'hypothèse selon laquelle seules les gravures piquetées datent de la protohistoire. Une continuité dans l'activité de gravure de la région du mont Bego peut donc être envisagée, avec une coexistence des techniques incisée et piquetée jusqu'à la fin de l'âge du Bronze ancien. Pour les périodes ultérieures il est possible d'imaginer un abandon progressif de la tradition piquetée au profit d'un schématisme linéaire de plus en plus présent. Bien que l'inscription du mont Bego au sein de l'expression symbolique alpine demeure indéniable, cette étude a également permis de révéler l'importance des influences culturelles ibériques sur l'art protohistorique de la région, du macro-schématisme du Levant espagnol à l'art schématique-linéaire perdurant jusqu'à la fin de la protohistoire, en passant par la culture campaniforme au travers de son groupe espagnol Ciempozuelos.
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Tibell, Emma. "Funktionella element som registreringshinder : en undersökning av tillämpningen av det absoluta registreringshindret i art. 7.1 e) ii) varumärkesförordningen och dess förhållande till hybridkännetecken." Thesis, Linköpings universitet, Affärsrätt, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-157347.
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Varumärkesrätten innefattar en bred definition av vilka kännetecken som kan konstituera ett varumärke, vilken inkluderar formen på en vara. När kännetecknet består av en varuform utgör således varan i sig kännetecknet och därmed varumärket. Vid en varumärkesregistrering ska bedömningen av olika kategorier av kännetecken inte skilja sig åt, men för varuformer finns ytterligare hinder vid registrering jämfört med andra typer av kännetecken. Ett sådant registreringshinder avser specifikt funktionella former. Många former tenderar att vara funktionella till viss grad, vilket aktualiserar art. 7.1 e) ii) VmF. Artikeln föreskriver ett absolut registreringshinder mot att registerna former som endast består av ”en varas form eller annan egenskap hos varan som krävs för att uppnå ett tekniskt resultat”. Om en varuform hindras registrering enligt artikeln, är uteslutningen från registrering permanent. Det innebär att registreringshindret inte kan övervinnas även om formen förvärvar särskiljningsförmåga på marknaden. EUD har uttalat att det inte vore skäligt att neka registrering av varuformer endast på grund av att de innehar några funktionella element. För att ett kännetecken ska falla inom ramen för artikeln behöver således en forms alla väsentliga särdrag falla inom ramen för bestämmelsen. Detta medför viss problematik när det kommer till hybridkännetecken vilka innehar vissa element som är funktionella, men även andra element som är icke-funktionella. Enligt gällande rätt kan hybridkännetecken registreras som varumärken om de innehar icke-funktionella särdrag som anses vara väsentliga. Hela formen av ett hybridkännetecken kan således registreras som ett varumärke under förutsättning att endast några av de väsentliga särdragen krävs för att uppnå den tekniska funktionen. Genom en undersökning av rättspraxis konstateras att EUD utför en fri och långtgående undersökning vid bedömning av vad som utgör en forms väsentliga särdrag och dessa särdrags eventuella funktion. EUD är inte bunden till vad som anges i varumärkesansökan, utan undersöker även den faktiska varan på marknaden för vilket kännetecknet är ämnat att användas. EUD verkar generellt vara restriktiv med att låta tredimensionella former registreras, inte minst när de innehåller funktionella element. Möjligen beror den negativa inställningen till att registrera hybridkännetecken på bristen av effektiva lösningar att tydligt undanta de funktionella elementen från registrering. Vid en registrering av hybridkännetecken uppstår även intressanta aspekter ur intrångssynpunkt eftersom formen är registrerad som en helhet, även om vissa väsentliga särdrag inte är ämnade att omfattas av ensamrätten. Vid analoga tillämpningar av rättspraxis framstår det som att dessa element, utan att det explicit framgår av exempelvis en disclaimer, ska vara undantagna från den ensamrätt som erhålls varumärkesinnehavaren.The trade mark law includes a very broad definition of signs that can constitute a trade mark, which includes the shape of a product. When a sign consists of the shape of a product, the product itself becomes the sign and thus the trade mark. In the case of a trade mark registration, the assessment should not differ between different categories of signs. However, when it comes to registration for signs consisting of the shape of a product, there are further obstacles to overcome before protection can be granted compared to other types of signs. Many shapes tend to be functional to some extent, which brings relevance to the absolute ground for refusal found in art. 7.1 e) ii) EUTMR. The article prohibits registration of signs which consist exclusively of “the shape, or another characteristic, of goods which is necessary to obtain a technical result”. If the registration of a sign is prohibited by the article, the exclusion from registration is permanent. This means that the ground for refusal cannot be overcome even if the sign acquires distinctiveness on the market. The CJEU has stated that it would not be reasonable to deny a shape registration only on the sole ground that it has some functional elements. Therefore, in order for a sign to fall within the scope of the article, all the essential characteristics of a shape must fall within the scope of the provision. This causes certain difficulties when it comes to hybrid signs, which possess some elements that are functional, but also other elements that are non-functional. Under current law, hybrid signs can be registered as trade marks if the non-functional elements are considered as essential. The entire form of a hybrid sign can thus be registered as a trade mark only if some, but not all, essential characteristics are required to achieve the technical function. By examining case law, it can be stated that the CJEU carry out a free and extensive examination when assessing what constitutes the essential characteristics of a shape and the possible function of these elements. The CJEU is not bound to the trade mark application but also examines the actual goods for which the sign is intended to be used. The CJEU generally seems to be restrictive in allowing registration for three-dimensional shapes, especially in regard to those incorporating functional elements. This might be the case since there is no good way to clearly exclude the functional elements from the registration. However, when registering a hybrid sign, interesting aspects also arise from the infringement point of view since the shape is registered as a whole but contains certain essential features, which are not intended to be covered by the exclusive right granted. In analogous applications of case law, it appears that these elements, without being explicitly stated in e.g. a disclaimer, must be excluded from the exclusive right granted to the proprietor.
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Bojinov, Jivco. "Democracy in Eastern Europe: society, government, and economy." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1361.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Sciences
Political Science
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Abele, Christine. "Civil society assistance in Central and Eastern Europe." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2008. http://dx.doi.org/10.18452/15749.
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Die Arbeit stellt sich die Frage, inwieweit es externen Akteuren möglich ist, zivilgesellschaftli-che Strukturen eines in der Transformation befindlichen Staates zu stärken, um damit einen Beitrag zur Konsolidierung nachkommunistischer Gesellschaften zu leisten. Resultiert die externe Förderung tatsächlich in eine „zivilere“ Gesellschaft, welche sich auf mündige und aktive Bürger stützt, oder führt sie zu einem bloßen Transfer von Strukturen in Form von Nicht-Regierungsorganisationen (NRO), welche jedoch keine gesellschaftliche Anbindung haben und bloße Zuarbeiter westlicher Geberorganisationen sind? // Um diese Frage zu beantworten, werden im theoretischen Teil der Arbeit ausgehend vom akteurszentrierten Institutionalismus zwei wesentliche Mechanismen identifiziert, durch wel-che die Aktivitäten der Geber Veränderungen bei den Nehmern erzielen: Ermächtigung und Lernen. Während Ersteres die Einsatzmöglichkeiten und Ressourcen einiger Akteure stärkt und damit vorhandene Akteurskonstellationen ändert, führt Letzteres dazu, dass neue Ideen Eingang in die politische Arena finden. // Die Arbeit stellt die Aktivitäten vier verschiedener Geberländer und –organisationen in Polen und der Slowakei in den 1990er Jahren vor; der Europäischen Union, Deutschlands, der Vereinigten Staaten von Amerika und dem privaten Netzwerk der Soros Stiftungen; und un-tersucht deren Beitrag zur zivilgesellschaftlichen Entwicklung beider Länder. Hierzu werden lokale NROs in den Blick genommen, welche maßgeblich von westlichen Gebern unterstützt werden und untersucht, inwieweit diese als Träger der Zivilgesellschaft fungieren, welche Legitimität sie bei der Bevölkerung besitzen und ob sie nach Rückzug der Geber weiter exis-tieren. // Die Arbeit kommt zu dem Schluss, dass westliche Zivilgesellschaftsförderung in beiden un-tersuchten Ländern einen positiven Effekt hatte in dem Sinne, dass maßgeblich geförderte NROs tatsächlich als Träger der Zivilgesellschaft fungierten. Sie bemühten sich um die Un-terstützung anderer NROs, erweitern gesellschaftliche Partizipationsmöglichkeiten und sind soweit in nationale Strukturen und in der Gesellschaft verankert, dass auch ein Fortbestand ohne westliche Gelder möglich ist.With the end of the communist bloc and the transformations taking place in Central and Eastern Europe the promotion and protection of democracy from abroad became a major field of assistance. Especially civil society assistance, understood as direct support granted to non-governmental actors of the target state with the explicit aim to promote the consolida-tion of democracy, became a major pillar of democracy aid. The dissertation analyzes civil society assistance and aims to tackle the question whether it is feasible to promote and strengthen civil society from abroad. Does civil society assistance result in more civil society or does it result in nothing more than the establishment of donor driven NGOs which are nei-ther voluntary nor independent but solely function as puppets of donors? // In order to answer this question and following the insights of actor-centered institutionalism, the dissertation identifies to modes of external intervention labeled „empowerment” and “learning. In the first case, donors may increase the action resources of chosen domestic actors, thus altering domestic actor constellations, by providing finances, technical equip-ment, information and know-how. In the latter case, external actors may impact upon the ori-entations, that is, the perceptions and preferences, of domestic actors. // The dissertation analyses the contribution of the activities of four different donors; the Euro-pean Union, the USA, Germany and the private network of Soros Foundations; to the devel-opment of civil society in Poland and Slovakia. In order to pinpoint outcomes of civil society assistance the dissertation focuses on recipients and their activities. The dissertation thus clarifies to what extent main recipient organizations act as carriers of civil society, whether they transmit the interests of their constituency into politics, whether they fulfill a watch-dog function and democratic functions attributed to civil society. It therefore analyzes main recipi-ents, their sustainability, legitimacy and effectiveness as carriers of civil society. // The dissertation jumps to the conclusion that externally driven civil society assistance had positive effects in both countries under investigation as supported NGOs acted as carriers of civil society.
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Karakostaki, Charitini. "Les fêtes nouvelles. Enquête sur les idéaux de la société ouverte et leur mise en scène : Paris 1981-2014." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH030.
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La présente thèse porte sur la mise en place des nouvelles manifestations festives en France, et plus particulièrement à Paris, depuis les années 80. Ces fêtes marquent un déplacement par rapport aux fêtes « traditionnelles » qui étaient en grande partie organisées autour des concepts de sacré et de nation. Nourri par une observation ethnographique de plusieurs années, ce travail met en évidence une multiplicité de facettes des fêtes nouvelles: les processus de conceptualisation et de création par les autorités publiques ; leur gestion et mise en œuvre par des managers culturels ou par des associations et des collectifs ; l’invention de nouvelles formes rituelles ou l’adaptation de plus anciennes ; les mises en scène urbaines et l’emploi des codes distinctifs ; l’appropriation de ces fêtes par la société et les différents débats qu’elles ont soulevés. Chacune des trois parties de la thèse est consacrée à une fête. Une place majeure est réservée à la Fête de la musique, la Marche des fiertés et la Nuit blanche, sans pour autant passer sous silence d’autres fêtes résolument nouvelles et d’envergure, telles que la Capitale européenne de la culture et les Allumées de Nantes, permettant de mieux saisir les mutations qui s’opèrent au niveau européen. Enfin, s’appuyant sur la thèse classique de Durkheim, ce travail propose d’envisager ces fêtes comme points d’entrée pour appréhender les idéaux de la société ouverte. L’intention affirmée des organisateurs de mettre en place une nouvelle conception du vivre ensemble et du lien social, est à bien des égards l’occasion de célébrer une société française et européenne, pacifique, réconciliée et toléranteThe present thesis examines the installation of new festive events in France, and more particularly in Paris, since the 80s. These celebrations mark a shift in regard to "traditional" celebrations which mostly revolve around the concepts of the sacred and the nation. Nourished by an ethnographic observation of several years, this work highlights a variety of aspects: the process of their invention and their creation and by the public authorities; the supervision of the events by cultural managers or associations and collectives; the invention of new ritual forms and the adaptation of older ones; the design of the urban scenery and the use of distinctive codes; the appropriation of these events fro, the society and the various debates to which they gave rise. Each part of the thesis deals with a celebration in an independent way. The Fête de la musique, the Gay Pride and the Nuit blanche are analyzed here in priority. However, next to them parade also other events, entirely new and ambitious, such as the European Capital of Culture and the Allumées of Nantes which offer a better insight into changes that took place on a European level. Finally, based on Durkheim's classic thesis, this work proposes to consider these festive events as an entry point into a greater inquiry about the ideals of the open society. The asserted intention of the organizers to put in place a new conception of living together and the social bond is in many ways the occasion to celebrate a French and European society, that is peaceful, reconciled and tolerant
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Kim, Eun-ho Paulin. "Art nouveau et art du vitrail." Paris 8, 1987. http://www.theses.fr/1987PA080194.
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Travail d'une plasticienne, fascinee par l'art nouveau en architecture et bien sur dans le vitrail. - l'introduction - generale - traite egalement du verre considere comme une matiere vivante. Cet aspect est developpee dans le corps du texte. - la fonction historique du vitrail dans l'architecture, completee par une presentation de l'ecole de nancy et de j. Gruber. - illustration de cet art par les representants les plus eminents : peintres, concepteurs de vitraux, architectes. - la presentation et l'analyse de ma propre pratique : realisation de copies, restaurations et creations dont plus recentesThis is the work of a plastic art profesional, fascinated by art nouveau in architecture and naturelly in stained glass work. The introduction - although general - deals as well with glass considered as a living substance. This aspect is developped in the work itself. - historical function of stained glass, completed by an exhibition of the "ecole de nancy" and j. Gruber. - illustration of the art by its most prominet artists : paintors, stained glass designers, architects. - presentation my own practice and exhibition of my works : copies restorations, creations including the most recent ones
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Vandor, Peter, Nicole Traxler, Reinhard Millner, and Michael Meyer. "Civil Society in Central and Eastern Europe: Challenges and Opportunities." ERSTE Foundation, 2017. http://epub.wu.ac.at/6256/1/Study_Civil%2DSociety%2Din%2DCEE_WU%2DWien.pdf.
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Building on the work of 27 authors and a survey of 400 experts, this volume provide a map of civil society in Central and Eastern Europe (CEE). The analysis comprises 16 CEE countries in four distinct country groups:
a) the Visegrád group, which consists of Poland, the Czech Republic, Slovakia, and Hungary, b) Slovenia and Croatia, c) Bulgaria and Romania, and finally, d) the non-EU countries Serbia, Bosnia and Herzegovina, Macedonia, Montenegro, Kosovo, Albania, and Moldova. Austria serves as a reference country for comparing CEE civil society with a traditional Western European civil society.
For each country, a chapter provides an overview over recent historical developments, the shapes and forms of civil society, its most important fields and activity, and an assessment of its institutional environment. Chapters also contain an analyisis of trends and future developments in civil society.
In addition, the volume contains a synthesis chapter which provides a general investitgation of civil societes across the region. We find that, even though the four groups are very diverse, similarities and shared patterns can be identified, such as the important role of the European Union and the accession process in shaping the institutional framework. Analyses also reveal distinct features of civil society within the four country groups, such as a particularly high level of donor dependency in the non-EU country group and a low level of institutional trust in Bulgaria and Romania. Despite recent challenges, including the withdrawal of foreign donors and political tensions in some countries, the outlook we provide for this dynamic region remains largely optimistic.
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Cruickshank, Neil A. "Power, civil society and contentious politics in post communist Europe." Thesis, University of St Andrews, 2008. http://hdl.handle.net/10023/559.
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This dissertation examines how contentious collective action in two post communist states, Poland and the Czech Republic, has broadened to include European and international actors. It identifies the emergence of new opportunities for contention brought about by recent episodes of institutional change, specifically EU accession, and questions how they benefit materially or politically weak NGOs. With the intention of determining how three interrelated processes, democratization, Europeanization and internationalization, affect the nature and scope of contentious politics, this dissertation carries out an investigation of several concrete episodes of political mobilization and contention. As shown these 'contentious events' involved a myriad of national, European and international actors, mobilizing to challenge national policy. Data from NGO questionnaires, interviews and newswire/newspaper archives are used to discern the nature and scope of contentious collective action. This dissertation assesses the extent to which transnationalization of advocacy politics has disrupted existing power arrangements at the national level between NGOs and government. Hypothesizing that European Union accession in 2004 changed the nature and scope of contentious collective action in post communist Europe, this dissertation undertakes a comparative empirical examination of three sectors, environment, women and Roma, and twenty-nine representative NGOs. My research identifies three important developments in the Polish and Czech nonprofit sector: first, European advocacy networks and institutions are helping national NGOs overcome power disparities at the national level; second, issues once confined to national political space have acquired a European dimension, and; third, despite Europeanization, a few notable policy issues (i.e. reproductive rights, nuclear energy and domestic violence) remain firmly under national jurisdiction. This dissertation contributes to existing collective action/post communist scholarship in three ways. It applies established theories of contention/collective action to several recent episodes of political mobilization; it confirms that post accession institutional change does offer new political opportunity structures to national NGOs, and finally; it presents new empirical research on post communist collective action.
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Pejman, Niloofar. "Animal welfare in Europe and Iran: policy perspective and society." Doctoral thesis, Universitat Politècnica de Catalunya, 2022. http://hdl.handle.net/10803/673996.
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Intensive animal production systems are compromising current animal welfare standards. Societies' growing concerns regarding how animals are raised have resulted in continuous policy reforms and regulations that have banned certain intensive farming methods. However, these concerns toward animal welfare can vary across different countries and cultures. In many developed countries, EU policymakers are continuously identifying and implementing more restrictive regulations driven by social changes that go beyond the current minimum animal welfare requirements. However, animal welfare is also an emerging concern in developing countries. In this context, the main objectives of this thesis are threefold:
Firstly, to analyze the EU consumers' and citizens' attitudes towards more restrictive animal welfare (AW) regulations. The Logit Model (LM) regression was used in eight European countries (Spain, the United Kingdom, Poland, Greece, Lithuania, Romania, Italy, and Sweden) on a sample of 3860 respondents. The results showed that consumers are more reluctant to adopt more restrictive regulations than respondents in their role of citizens. Respondents from northern European countries (Poland and Sweden) are more likely to support more restrictive animal welfare regulations than respondents from southern countries (Spain and Italy). Women were found to be more concerned with the welfare of pigs and laying hens, giving credibility to the Internet as an information source and more likely to support more restrictive animal welfare legislation. Secondly, the students' opinions towards the inclusion of the AW subjects in their educational program were analyzed. The Logit Model (LM) from eight European Union (EU) countries with 1,952 secondary students and 1,929 graduate students was also used. The results showed that female university students with a high level of subjective and objective knowledge on AW and who required more restrictive AW regulations gave support to include the concept in their educational programs. However, students who support medical experiments that use animals to improve human health were less likely to accept the inclusion of the AW in their educational curricula. Furthermore, students in Italy compared to those in Sweden were prone to support AW educational programs.
Thirdly, in order to have a comparative view of a developing country compared to results in EU, Iranian citizens' and consumers' willingness to pay (WTP) for animal welfare (AW) milk products were analyzed using the choice experiment. The results indicate that citizens are willing to pay the highest price for traditional AW milk but not for industrial and traditional milk without AW certification. Moreover, individuals in their role as consumers exhibit a higher WTP for all types of milk but with a marked preference for industrial AW than traditional. Citizen's women and those who rely on the Internet were more concerned with dairy cattle farms and were more likely to choose AW milk. Citizens below 55 years of age were more reluctant to pay a premium to choose industrial and traditional milk without AW certification. Furthermore, consumer women and those who do not have children show a higher preference for industrial AW milk with lower animal welfare standards. However, consumers who support using animals for sport and those who assign high credibility to the television as an information source were less likely to pay a premium for AW products. Our results highlighted that both consumers and citizens are demanding higher standards regarding animal welfare. Consumers by purchasing animal welfare-friendly products and citizens by adopting a holistic approach to society legislation to achieve a minimum standard of welfare conditions. Finally, our results highlight the importance of policymakers adopting reforms that are in accordance with societal preferences and concerns to create more effective and acceptable animal welfare policies.Los sistemas de producción animal intensiva están comprometiendo los estándares actuales de bienestar animal. La creciente preocupación de las sociedades con respecto a cómo se crían los animales ha dado lugar a continuas reformas políticas y regulaciones que han prohibido ciertos métodos de cultivo intensivo. Sin embargo, estas preocupaciones sobre el bienestar animal pueden variar entre diferentes países y culturas. En muchos países desarrollados, los formuladores de políticas de la UE están identificando e implementando continuamente regulaciones más restrictivas impulsadas por cambios sociales que van más allá de los requisitos mínimos actuales de bienestar animal. Sin embargo, el bienestar animal también es una preocupación emergente en los países en desarrollo. En este contexto, los principales objetivos de esta tesis son tres: En primer lugar, analizar las actitudes de los consumidores y ciudadanos de la UE hacia normas más restrictivas sobre el bienestar de los animales (AW). La regresión del Modelo Logit (LM) se utilizó en ocho países europeos (España, Reino Unido, Polonia, Grecia, Lituania, Rumania, Italia y Suecia) en una muestra con una muestra de 3860 encuestados. Los resultados mostraron que los consumidores son más reacios a adoptar regulaciones más restrictivas que los encuestados en su papel de ciudadanos. Los encuestados de los países del norte de Europa (Polonia y Suecia) son más propensos a apoyar regulaciones de bienestar animal más restrictivas que los encuestados de los países del sur (España e Italia). Se descubrió que las mujeres estaban más preocupadas por el bienestar de los cerdos y las gallinas ponedoras, lo que da credibilidad a Internet como fuente de información y es más probable que apoye una legislación de bienestar animal más restrictiva. En segundo lugar, se analizaron las opiniones de los estudiantes hacia la inclusión de las asignaturas AW en su programa educativo. También se utilizó el modelo Logit (LM) de ocho países de la Unión Europea (UE). Los resultados mostraron que estudiantes universitarios con un alto nivel de conocimiento subjetivo y objetivo sobre AW y que requerían regulaciones de AW más restrictivas dieron apoyo para incluir el concepto en sus programas educativos. Sin embargo, los estudiantes que apoyan los experimentos médicos que utilizan animales para mejorar la salud humana tenían menos probabilidades de aceptar la inclusión del AW en sus planes de estudios educativos. Además, los estudiantes de Italia, en comparación con los de Suecia, eran propensos a apoyar los programas educativos de AW. En tercer lugar, para tener una visión comparativa de un país en desarrollo en comparación con los resultados de la UE, se analizó la disposición a pagar (DAP) de los ciudadanos y consumidores iraníes por productos lácteos de bienestar animal (AW) utilizando el experimento de elección. Los resultados indican que los ciudadanos están dispuestos a pagar el precio más alto por la leche AW tradicional, pero no por la leche industrial y tradicional sin certificación AW. Además, los individuos en su rol de consumidores exhiben una DAP más alta para todos los tipos de leche, pero con una marcada preferencia por la AW industrial que la tradicional. Las mujeres ciudadanas y las que dependen de Internet estaban más preocupadas por las granjas de ganado lechero y eran más propensas a elegir la leche AW. Además, las mujeres consumidoras y las que no tienen hijos muestran una mayor preferencia por la leche industrial AW con un estándar de bienestar animal más bajo. Sin embargo, los consumidores que apoyan el uso de animales para el deporte y aquellos que asignan una alta credibilidad a la televisión como fuente de información tenían menos probabilidades de pagar una prima por los productos AW. Nuestros resultados destacaron que tanto los consumidores como los ciudadanos exigen estándares más altos en materia de bienestar animal. Los consumidores compran productos respetuosos con el bienestar animal y los ciudadanos adoptan un enfoque holístico de la legislación de la sociedad para lograr un estándar mínimo de condiciones de bienestar. Finalmente, los resultados muestran que la enseñanza del concepto de AW en las universidades y programas escolares, principalmente en los países mediterráneos en las escuelas secundarias, es necesaria.
Sostenibilitat
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Cruickshank, Neil Albert. "Power, civil society and contentious politics in post communist Europe /." St Andrews, 2008. http://hdl.handle.net/10023/559.
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Tingvall, Josefin. "Soft Society." Thesis, Konstfack, Textil, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5853.
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Illustrated exam paper for Josefin Tingvalls project Soft Society. Which is about investigating through cloth and textile our urban surrounding. The core question ; if I go out in an urban area and use textile as a recordmaterial, what traces and stories will I bring back? By looking at textileas a matter, craft and as a philosophical starting point in urban areas, what can it tell about our surrounding and our society? In the three mainchapters of the paper, Tingvall reflects upon important themes such as wandering and spectating, also exhibiting of process based craft, textilein urban areas and matter-based dyes and their relation to us.Soft society
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Armfield, Maris Margaret Doris. "Art and society in Ulm 1377-1530." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3669/.
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The imperial city of Ulm in southwest Germany was one of the largest in the country during the Middle Ages, and one of four important centres in the Swabian region. In the fourteenth and fifteenth centuries the region was characterised by a large number of towns and cities, especially imperial cities, most of which lay south of the Swabian Alps, in Upper Swabia. For their protection the towns formed into the Swabian League of which Ulm had leadership until the latter part of the fifteenth century. The League restrained the ambitions of emperor and the princes, and effectively maintained relatively peaceful conditions in the region for most of the fifteenth century. The cities relied largely on trade, shipping iron, salt, meat and grain from eastern areas into the southwest for distribution. There was also a vast textile industry, producing woollen cloths and fustian, or barchent, with a mixture of cotton and linen. Wool and flax were produced locally, while cotton was brought from Venice, and finished cloth distributed throughout Europe. This led to the rise of family merchant companies that handled import, export, distribution, and in some cases production. Familial networks were key. Such networks were also fundamental for craft communities throughout the region and artisans frequently moved to train or work. As a large centre, Ulm produced much sculpture and painting with production peaking during the second half of the fifteenth century, resulting in an extensive export market. As with all imperial cities, Ulm relied on its relationship with the empire for its ability to function, politically and economically. Largely because of its wealth, it gained a high level of autonomy, which it used to acquire an extensive territorial area, and to secure authority over the parish, its church, and local foundations. Of fundamental importance was the parish church of Our Lady, which was relocated into the heart of the commercial area of the city and rebuilt on a massive scale signalling the might of the town. The renewed importance of Our Lady encouraged endowments and gifts, and helped secure the authority of the patriciate, especially the Krafft family. In the face of guild uprisings during the fourteenth century, the patriciate of Ulm was a particularly closed type and social demarcation was rigorously practised. Inter-marriage with a select group of traders, however, resulted in a ruling body that effectively developed into an oligarchy, despite substantial guild representation on the civic council. A small group held power over many years and most aspects of everyday living were closely regulated and policed. Artistic styles and developments reflected this stable, yet rather restricted climate. Change was adopted with caution. But, arguably, styles also reflected wider regional trends that, to an extent, might be classed as traditionally Swabian. The characteristic regional style might also have been linked to mysticism and pious practices amongst female religious that had filtered into civic life. As vibrant commercial centres, the cities were conscious of a communal responsibility. Ultimately, this somewhat conservative attitude led to a shift in artistic production during the last decade of the fifteenth and into the sixteenth century. Ulm was unable to keep pace with wider political and commercial developments, and in certain ways Ulm did not provide artists with the conditions necessary to fully exploit their talents.
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Guidas, Karen A. "Image power the role of art in society /." Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only. Instructions for remote access, 2004. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M. Ed. )--Kutztown University of Pennsylvania, 2004.Source: Masters Abstracts International, Volume: 45-06, page: 2748. Typescript. Abstract precedes thesis as 1 preliminary leaf (iii ). Includes bibliographical references ( leaves 73-76 ).
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Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.
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Parau, Cristina Elena. "The interplay between domestic politics and Europe : how Romanian civil society and government contested Europe before EU accession." Thesis, London School of Economics and Political Science (University of London), 2006. http://etheses.lse.ac.uk/2696/.
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The key research questions of this dissertation are: 'How do domestic actors construct Europe.' and 'How do they utilise it in seeking to empower themselves against other actors.' The questions of construction and utilisation of Europe are some of the most topical questions in Europeanization. The first question addresses constructivist/sociological concerns. The second addresses the issue of winners and losers (differential empowerment). Both are key issues in the literature of Europeanization and yet have been little addressed in the context of post-communist EU accession countries. This dissertation aims to bridge this gap by focusing on the post-communist country of Romania, a soon to be EU member-State. The actors under investigation are civil society, which emerged in Romania for the first time ever after 1989 and the central government Executive. The study covers the period during which the EU acquis negotiations were negotiated under the Social Democratic government led by Prime Minister Adrian Nastase (2000-2004). The data was gathered through in-depth case study and process-tracing, the methods found best able to disentangle a complex causal nexus. The Europeanization literature is contradictory with regard to which domestic actors are constrained and which empowered: some scholars theorise that it empowers civil society (Diffusion); others that it empowers the Executive (Executive Empowerment); still others that it promotes co-operation between them (Network Governance). The empirical evidence so far has been inconclusive. This dissertation shows that only a small elite made of civil society entrepreneurs and government Executives constructed and utilised Europe in the pre-membership phase, to empower themselves relative to other actors, particularly opponents. The empirical data support two of the classical Europeanization theses in the literature: the Diffusion and the Executive Empowerment Theses. The Diffusion Thesis better explains civil society empowerment near the beginning and at the peak of acquis negotiations, although some evidence also favours Executive Empowerment. This latter thesis better explains the powerlessness of civil society at the close of negotiations, although some evidence for Diffusion was also found. No evidence was found supporting Network Governance. Instead evidence was found in favour of its critics, namely support for the claim that the EU (or Europe) empowers an elite in both civil society and the State.
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Cox, Jan Deryck. "The impact of Nordic art in Europe 1878-1889." Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/10406/.
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The period from 1878 to 1889 was one of increasing success for Nordic artists in Europe, particularly in Paris which was the accepted centre of the European art world at the end of the nineteenth century. Although there were early arrivals of Nordic students to study in Paris in the late 1860s, the main influx of Nordic artists occurred at the end of the 1870s, attracted by the Exposition Universelle of 1878 and the exhibition of French art that took place in Munich in 1879. Many Nordic artists undertook training at the Paris atelier of Léon Bonnat and the Académie Trélat where Bonnat corrected. The training they received was based around strong design skills, the importance of tone, and also of the composition as a whole entity. The art that was favoured at these studios were the Realist depictions of Millet, Courbet and Breton, and also Spanish masters such as Velázquez and Ribera. Erik Werenskiold came to Paris in 1881, and adopted a French juste-mileu style of Naturalism that took a middle position between the academic works of the Salon and the Impressionist avant-garde. In the three summers of 1883 to 1885, Werenskiold produced Peasant Burial, a work that portrayed the more prosperous Norwegian rural class as modern Europeans, concomitant with the achievement of their first political power. Werenskiold’s picture has far more in common with James Guthrie’s A Funeral Service in the Highlands than with the picture assumed to be its source, Burial at Ornans by Courbet. P. S. Krøyer received training with Bonnat, and quickly made his mark in Paris with depictions of rural working people. A poor reception in Denmark of his work The Italian Village Hatters led to Krøyer ensuring that future work was less open to the interpretation that it carried a political message. His depictions of fishermen at Skagen were supreme examples of his technical virtuosity, capturing light, texture and character. Edvard Munch and Vilhelm Hammershøi exhibited only six pictures between them outside Scandinavia in the 1880s. Munch met with negligible critical reaction to his two pictures, while Hammershøi, although receiving more mainstream critical attention, was not encouraged by his Parisian exhibition experience. Women artists faced particularly difficulties, particularly the ban on attending academies and life classes. Their strategies for coping with these problems included teaming up with fellow women artists to share studio and living space, and to provide a network of support that male artists took for granted. Harriet Backer and Kitty Kielland, Bertha Wegmann and Jeanna Bauck, are examples of two pairs of artists who engaged in this support structure. Nordic artists received many awards at the Paris Salon in the period 1878 to 1889, despite the bias towards French art that existed there. However, the art that was rewarded was produced using French techniques, and often - at least initially- French subjects. Later, the synthesis of French technique and Nordic subject matter provided many of the most technically-accomplished pictures of the period. Nordic art was received far more favourably at the Exposition Universelle of 1889 than that of 1878, exemplifying the great progress that had been achieved by Nordic artists in little more than a decade. The 1889 Exposition represented a high point for Naturalist Nordic art, and many important artists ceased exhibiting at the Salon after this date.
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Goodwin, R. "Food, art, and society in Early Modern Spain." Thesis, University of London, 2001. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540098.
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Bosch, Susanne. "Learning for civil society through participatory public art." Thesis, Ulster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.591052.
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In this PhD by Publication I argue that my art practice serves as a useful contributor towards shaping elements for the activation of civil society. Through consideration of three interrelated examples from my art practice from 1998-2011, which emerged from my Restpfennigaktion (Left-over Penny Campaign) an artistic methodology has emerged that shows links between the artwork as process and product in relation to notions of transformation. Lynn Froggett writes, "The transformative potential is realised when it generates a cultural form for experience that needs the visual or performative register for its fullest expression." I unpick and position the role of my practice using theoretical frameworks of participatory art as life, such as art and social sculpture (Beuys) in relation to the discourse used by theorists such as Claire Bishop, who aligned a socially engaged public art practice with ideas of civil society and democracy. I also use critical pedagogy and conflict resolution to position my work in this realm. Equally important is the role of a selected number of examples of participatory art works by others, such as MA, Park Fiction and Schlingensief, as well as Suzanne Lacy. Innovative strategies in my work are the implementation and cross-sector uses of that knowledge through artistic practice. The three projects under consideration were time-based interventions, which sought to engage people in penny-giving, wish-giving and wish realization in Germany (Left-over Penny Campaign), Italy (lnitizativa Centesimo Avanzato) and Spain (Hucha de Deseos). As a result of undertaking this research, a suite of questions revealed themselves from within the practice. The questioning was specifically focused around the following three areas: the role of aesthetic form in my art practice, different conceptions of my role as artist, and how practitioners working in public or social space are affected by and respond to contexts. These questions arose during the processes of art-making and within the context of this research project. They emerged in response to a broadening of my ideas of participation, and participatory decision-making. It became clear that I was evolving new skills, in order to find appropriate and satisfying responses to these questions. I found myself by necessity seeking answers for the advancement of my art making by moving beyond traditional artistic strategies and into areas of knowledge, such as formalised conflict resolution, pedagogy, gift economy, leadership, self organisation, creative solutions in community development and undertaking a PhD. 1 Froggett, Lynn (ed), New Model Arts Institutions and Public Engagement, Research Study, Headline Findings, uclan, 2011, p. 10. [online] Available at Participatory public art refers to an art practice that features the transformation of individuals and societies for a common good. It aims to contribute to perceived demands for transition processes and is necessarily aware of and responsive to conditions that characterise a democratic civil society, which hopes for non-violent and fruitful transformations. The current global socia-political, ecological and cultural climate, currently dominated by the economic taxonomies, demands transformational processes if future life on earth is to be secured. Hence my art projects highlighted money, its meaning and ways of transformation, through focusing on gift economy more than on exchange economy. My three projects highlighted on the one hand the limits of our existing man-made systems, on the other, they demonstrated how participatory public art can be a mode of transformation.
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Driskel, Michael Paul. "Representing belief : religion, art, and society in nineteenth-century France /." University Park (Pa.) : Pennsylvania State university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35716402q.
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Lymer, Kenneth J. "Animals, art and society : rock art and material culture in ancient Central Asia." Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400540.
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Jacono, Dianne. "The quest and the woman artist in contemporary society." Thesis, Federation University Australia, 2002. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/165008.
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"The project concerns itself with the human condition and the search for meaning, specifically, from the perspective of a woman artist. This search for meaning is expressed as a journey. The journey of a fictional woman protagonist through landscape is the metaphor used to convey these ideas."Master of Education (Visual Arts)
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Smith, Harry John. "Propertied society and public life : the social history of Birmingham, 1780-1832." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:608bf88d-87af-4dba-993e-8772b86afd71.
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Social history has been much criticised over the past thirty years. This criticism and the consequent turn to cultural history have brought many advances, developing our understanding of the language, discourse, ritual and culture. However, it has also led to a neglect of structural factors and a turn away from the study of collectivities. This has meant that many subjects that class used to explain (social difference, social relationships and collective actions) are often ignored or undertheorized in current historical scholarship. This thesis examines one of these issues: how should historians understand and analyse the process of social-group formation? It does this through a case study of propertied society in Birmingham between 1780 and 1832. Propertied society is a loose category that does not have the connotations of concepts such as ‘middle class’. This thesis suggests that there were many different types of social group and that historians need to differentiate between them when analysing past societies. The most important distinction is between groups who shared attributes and groups that acted together. However, there was no simple relationship between attributes and actions; individuals who shared attributes did not necessarily act in the same way. The first part of the thesis (chapters 1-3) discusses who was included within the category of propertied society and the social and geographical understandings of those individuals. The second part of the thesis (chapters 4-6) moves from the general material and cultural structures of propertied society to consider three case studies that examine a number of processes by which individuals came together to form groups focused on particular discourses, institutions and events. The three case studies discuss the family and the transfer of social knowledge (chapter 4), local government and the nature of elites (chapter 5), and the process of politicization through examining membership of the Birmingham Political Union (chapter 6).
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Judson, Tracey F. "Civil society, second society and the breakdown of Communist regimes in Central and Eastern Europe : Poland, Czechoslovakia and Romania." Thesis, Loughborough University, 1999. https://dspace.lboro.ac.uk/2134/33163.
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This thesis proceeds from the premise that the demise of the Communist systems of rule in Eastern Europe is not fully explicable using ''traditional" theories of transition or democratisation. This thesis is, therefore, concerned initially with the limitations of existing theoretical frameworks. It proposes a line of enquiry that accounts for the breakdown of Communism through an analysis of a domestic variable: second society. In particular, it addresses the question of why the former European Communist regimes experienced differing modes of breakdown in 1989. The thesis adopts a comparative approach and focuses on the three different cases of Poland, Czechoslovakia and Romania. By comparing them, it analyses the extent to which variations in the modes of breakdown can be explained by the second society variable. The case studies are divided into three sections. The first considers the historical issues and factors that conditioned the nature of the Communist regime and of emerging opposition. The second analyses the development of second society within each country and the third section considers the impact of second society on the mode of regime breakdown in 1989. The thesis concludes that the case studies , demonstrate a causal relationship between the second society variable and the mode of breakdown experienced by the Communist regimes.
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Gardner, Anthony Marshall Art College of Fine Arts UNSW. "Politically unbecoming: critiques of "democracy" and postsocialist art from Europe." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/42880.
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This thesis presents a theoretical and historical account of how artists have responded to politics of democracy since the late-1980s. Three questions guide the direction of this analysis. Firstly: why, during its apparent apotheosis in recent years, have numerous artists critiqued democracy as the political, critical and aesthetic frame within which to identify their work? Secondly: how have artists undertaken this critique? Thirdly, and most importantly: what aesthetic and political discourses have artists proposed in lieu of the democracy that they critique? Particular case studies of art from Europe help us to address these questions, for Europe has been an important crucible for vociferous, and often fraught, arguments about democracy in recent aesthetic, philosophical and political discourses. The first chapter of this thesis rigorously contextualises these discourses in relation to historical mobilisations of democracy since the Iron Curtain??s collapse. Relying on writings by Pat Simpson, Slavoj ??i??ek, Alain Badiou and Mario Tronti, I chart the significant imbrications of political ideology, philosophy and what I call ??aesthetics of democratisation?? from the end of European communism, through the democratisations of postcommunism to the militarised democratisations of Iraq and Afghanistan after 2001. Notions of democracy shift and change during this period, becoming what ??i??ek calls a problematic ??transcendental guarantee?? of assumed values and self-legitimation. These shifting values in turn propel the concurrent critiques of democracy that are the subjects of the five subsequent chapters: Ilya Kabakov??s ??total?? installations; Neue Slowenische Kunst??s mimicry of the nation-state during the 1990s; Thomas Hirschhorn??s large-scale works from the late-1990s onwards; Christoph B??chel and Gianni Motti??s collaborative ventures; and the co-operative practices of Dan and Lia Perjovschi. Through examination of the artists?? installations and voluminous writings, and based primarily on archival research and interviews, this thesis examines how their aesthetic politics emerge from the remobilisation of nonconformist art histories, through self-instituted contexts and alternative models for art production, exhibition and interpretation. These models, I argue, counter our usual understandings of art practice and its politics in Europe. They cumulatively assert ??postsocialist aesthetics?? as an impertinent, yet urgent, prism through which to analyse contemporary art.
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Porr, Martin. "Reflections of human beings : the Aurignacian art of central Europe." Thesis, University of Southampton, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249607.
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Widrich, Mechtild. "Performative monuments : public art, commemoration, and history in postwar Europe." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/54554.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2009.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 343-364).
The performative monument, as I term an emergent genre of interactive public actions, rests on a new notion of agency in public space, in which political responsibility is performed by historically aware individuals in acts of commemoration. This dissertation argues that public performance art starting in the 1960s provided a crucial impulse for new forms of commemoration in 1980s Europe and beyond. I claim that performance, a supposed antipode to the monument in its ephemerality and dematerialization, did not neutralize the monumental but reinvented it as a new practice: one that involved the audience explicitly through conventional transactions, best understood through the speech-act theory of J. L. Austin (who coined the term "performative" in the 1950s). To specify the correlation between performance and monumental public space, I draw attention to the empirical shift from performance to monument production in the work of postwar Central and Eastern European artists, and to the theoretical continuity that makes this shift possible. Monumental architecture played a role in the early performances of Anselm Kiefer, Joseph Beuys, Jochen Gerz (all German), Valie Export, Peter Weibel, and Giinter Brus (Austrians), Marina Abramovid and Braco Dimitrijevid (from former Yugoslavia), among others. These artists brought a performative component to the memorial culture of the 1980s and '90s, mediating between history and the individual in ways sketched by the ephemeral events of '60s and '70s performance.
(cont.) I examine these interconnections in the passage from confrontation to commemoration through a variety of heterogeneous but related documents: photographs and eyewitness accounts of early performance; interviews and press accounts that evolved their own logic and myths over the years separate from the events; plans and drawings of unrealized monuments, and that most complicated and characteristic form of 'performative documentation,' photographs modified through drawing, painting, or collage techniques to involve their viewers in a collaborative re-imagining of the role of commemoration in public space.
by Mechtild Widrich.
Ph.D.
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Guy, Emmanuel. "Évolution des formes dans l'art figuratif paléolithique occidental : introduction à une grammaire stylistique." Paris 1, 1998. http://www.theses.fr/1998PA010635.
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Nos recherches portent sur l'etude des modes de representation dans l'art figuratif des chasseurs-cueilleurs du paléolithique supérieur. Loin de réduire l'analyse du style à un simple outil chronologique (comme c'est habituellement le cas), nous avons souhaité mettre en oeuvre une vaste exploration du corpus figuratif préhistorique afin d'identifier certaines manières ; spécifiques de représenter. En effet, toute figure fait appel à un répertoire conventionnel de formes, indispensable à sa lisibilité par le groupe social dont elle procède. Ce code de représentation, conçu et élaboré par le groupe, constitue un témoignage privilégié de sa façon particulière de voir le monde. Notre objectif a donc été d'établir, par l'observation la plus rigoureuse possible, une grammaire des formes paléolithiques qui mette ainsi en lumière les transformations de la vision artistique et par la même, celles de la conceptualité au sein des cultures préhistoriques. Au terme de cet première évaluation, dix organisations formelles specifiques temoignant de conceptions distinctes ont ete mises en lumières. Bien entendu, il ne s'agit là que d'une toute première évaluation des différents principes d'expression paléolithique qui devra être enrichie d'observations nouvelles afin de permettre ulterieurement d'en mieux saisir les mécanismes internes, les tendances, les butsOur research is centered upon the study of the means of representation in the figurative art of the hunters-gatherers of the upper palaeolithic. Far from reducing the study of style to a simple chronological tool (as is often the case) we wish to engage a vast exploration of the prehistoric figurative corpus, in order to demonstrate specific manners of representation. Indeed, every figure refers to a conventional range of forms that are indispensable to its legibility by the social group that it proceeds. This representational code conceived and developed by the group, constitutes a primary testimony of its particular world-view. Our objective was, therefore to establish, by rigourous observation, a grammar of palaeolithic forms which illuminates the transformations of the artistic vision, and in the sane time, those of the way of thinking of prehistoric cultures. Our stylistic approach permit to identify ten specific formal organisations. Of course, this first evaluation on prehistorical languages has to be completed later on, in order to better grasp their objectives tendancies, and goals
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Ferry, Martin Hugh. "The "intelligentsia in power" and the development of civil society : Mazowiecki's Poland." Thesis, University of Glasgow, 1998. http://theses.gla.ac.uk/4496/.
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The subject of this thesis is Poland's first post communist government (September 1989 - December 1990), formed under the premiership of the veteran 'Solidarity' activist Tadousz Mazowiecki. The threat of economic collapse and social disorder had prompted the communist authorities to grant the non-communist elements organised around the 'Solidarity' movement limited access to the Polish parliament through partially free elections. In June 1989 the results of these elections delivered a fatal blow to communist rule in Poland. 'Solidarity' triumphed in practically all the parliamentary seats the communist authorities had permitted it to contest. Bereft of ideological confidence and Soviet support, the Polish Communist Party rapidly disintegrated and the task of forming an administration fell to 'Solidarity'. The new government, led by Mazowiecki and dominated by representatives of Solidarity's intellectual elite, was appointed in September 1989. In the months that followed, the new government took advantage of strong social support and popularity to introduce comprehensive political and economic reforms. The reforms introduced irrevocably dismantled the country's disastrous command economy and introduced a radical shift to market based criteria. Although they entailed austerity for much of Polish society, at least initially, the personal prestige of the new elite and its promise of the future benefits which would flow from the introduction of market rules seemed to guarantee an ongoing state of acquiescence. The political reform process was admittedly slower but the removal of the last vestiges of communist power from the system progressed steadily. Within nine months the government had taken great strides in ending communist control of the police and military and was tackling the continued influence of the nomenklatura in the state bureaucracy. State control of the media and previous prohibitions on freedom of conscience, association and speech were ended. Completely free parliamentary and presidential elections were planned for the near future. It seemed that for the duration of the transition Poland would be led to a 'Western style' liberal-democratic polity and free market economy by a government composed of Solidarity's 'best and brightest'. Apolitical intellectuals would patriotically put the higher needs of the nation before the distractions of everyday political competitiveness. They would be supported in this by the Solidarity movement which would also act as a nursery for fledgling political parties. Over time these organisations would gather the societal support and organisational strength necessary to form a conventional, stable political system.
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Leung, Mei-yin, and 梁美賢. "The Chinese Women's Calligraphy and Painting Society: the first women's art society in modern China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628697.
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Jakubowicz, Rosa. "Art, the self, and society : the human possibilities in John Dewey's Art as experience." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64160.pdf.
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Isager, Jacob Pliny. "Pliny on art and society : the Elder Plinyʼs chapters on the history of art /." London ; New York : Routledge, 1991. http://www.loc.gov/catdir/enhancements/fy0648/92194763-d.html.
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Smith, John Arthur. "An analytic sociology of art : art and society and the origins of modernist painting." Thesis, Goldsmiths College (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286130.
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Gauvry, Yoann. "L' exploitation minérale à la protohistoire ancienne dans la moitié nord de l'Europe : émergence d'un art mineur." Paris 1, 2006. http://www.theses.fr/2006PA010568.
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L'objectif de ce travail est, dans un premier temps, de cerner l'état des connaissances disponibles dans la littérature archéologique sur l'exploitation minérale, pour répondre, dans un deuxième temps, à des problématiques définies à une large échelle géographique et chronologique. Les modes d'acquisition des matières minérales non métalliques, qui présentent tous les intermédiaires entre des ramassages ponctuels de surface et les minières profondes et planifiées, sont riches d'informations socio-économiques sur les populations qui les ont employés ; c'est pourquoi il est intéressant de comprendre leurs évolutions lors des différentes périodes du Néolithique, du Chalcolithique et des premiers âges des Métaux, et de voir s'ils reflètent des dynamismes globaux et cohérents dans la moitié nord de l'Europe.
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Ravadrad, Azam. "The social determination of art : a theoretical and empirical investigation /." [Campbelltown, N.S.W. : The Author], 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030701.140851/index.html.
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Waelder, Laso Pau. "Selling and collecting art in the network society: Interactions among contemporary art new media and the art market." Doctoral thesis, Universitat Oberta de Catalunya, 2016. http://hdl.handle.net/10803/399029.
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Aquesta tesi explora i analitza les interaccions actuals entre art, nous mitjans i el mercat de l'art, i també les transformacions que es produeixen en el reconeixement de l'art digital, l'estructura del mercat de l'art i els rols de l'espectador i el col·leccionista. La tesi es divideix en tres parts. La primera part analitza les maneres en què l'art de nous mitjans s'ha definit ell mateix com un món de l'art específic, i les polèmiques que exemplifiquen la seva separació del món de l'art contemporani. La segona part analitza les motivacions i les expectatives dels artistes que treballen amb tecnologies emergents, per mitjà d'una enquesta feta per l'autor entre més de cinc-cents artistes de cinquanta països. La tercera part analitza les maneres en què l'art digital ha estat comercialitzat i els canvis recents en el mercat de l'art contemporani a internet.La presente tesis explora y analiza las interacciones actuales entre arte, nuevos medios y el mercado del arte, así como las transformaciones que se están produciendo en el reconocimiento del arte digital, la estructura del mercado del arte y los roles del espectador y el coleccionista. La tesis se divide en tres partes. La primera parte analiza las formas en que el arte de nuevos medios se ha definido a sí mismo como un mundo del arte específico, y las polémicas que ejemplifican su separación del mundo del arte contemporáneo. La segunda parte analiza las motivaciones y las expectativas de los artistas que trabajan con tecnologías emergentes, por medio de una encuesta realizada por el autor entre más de quinientos artistas de cincuenta países. La tercera parte analiza las maneras en que el arte digital ha sido comercializado y los cambios recientes en el mercado del arte contemporáneo en internet.
The present dissertation explores and analyzes the current interactions among art, new media and the art market, as well as the ongoing transformations in the recognition of digital art, the structure of the market, and the role of the viewer and collector. It is divided into three parts. The first part analyzes the ways in which new media art has defined itself as a distinct art world, as well as the controversies that exemplify its separation from the mainstream contemporary art world. The second part exposes the motivations and expectations of artists working with emerging technologies by means of a survey carried out by the author among more than 500 artists from 50 countries. The third part discusses the ways in which digital art has been commercialized as well as the recent developments in the online contemporary art market.
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Cross, Rhonda Kay. "Walter MacEwen: A forgotten episode in American art." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9854/.
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Despite having produced an impressive body of work and having been well-received in his lifetime, the career of nineteenth-century American expatriate artist Walter MacEwen has received virtually no scholarly attention. Assimilating primary-source materials, this thesis provides the first serious examination of MacEwen's life and career, thereby providing insight into a forgotten episode in American art.
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Ryan, Freiburger. "Can democracy function alongside weak civil society? The case of post-communist Europe." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/28465.
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Post-Communist Europe poses a theoretical puzzle for students of democracy. There is a large body of political science literature that argues that civil society is not only good for democracy but critical for democratic deepening. While civil society is generally regarded as an essential feature of stable democracy, twenty years after the collapse of communism, post-communist civil society is relatively weak. This thesis examines the relationship between civil society and democracy in post-communist Europe. Using the 2008 European Values Survey I conduct regression analysis to test whether or not there is a statistical link between relative differences in the strength of civil society and indicators of democracy at both the country and the individual level. I find no statistical link between civil society and democracy at the country level and found a relatively modest link between democratic values and membership in civil society organizations at the individual level. These results suggest that the link between civil society and democracy in post-communist Europe is relatively modest. The thesis concludes by conducting a case study of Poland where I explore the relationship between civil society and democracy in a more extensive manner.
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Hartley, P. D. "Society and politics in Europe and America in the works of Charles Sealsfield." Thesis, University of Leeds, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372600.
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Steele, Nancy Joanne. "Etched images of the human form in relation to society and environment." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941715.
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The vitality of the human figure has been an unending source of curiosity for artists from the beginning to now. Although many artists have focused their creativity to searching for the perfect, in fact, beautiful, human form, others have striven to convey the human experience within the spirit of their own era. The latter is true of this creative project, which has addressed the following problem: hog: could large-scale intaglio printmaking be used to 02arify the negative impact our rigid contemporary notion of beauty can have on individual women? The project was inspired by the work of Kaethe Kollwitz, German artist of the early 20th century whc used her technical drawing skills to translate her knowledge of war and famine shattered women into forceful lithographs and etchings. The insight she Portrayed vividly combined her intensely personal vision the Vicious events of her times: social commentary at its finest.The significance of the project has been, first of all, its benefit to myself, the artist. The journey which I undertook through historical research on Kollwitz; conceptual investigation of women and rigid norms for beauty; and extension of my technical expertise as an etcher-has produced insights about creating art that are invaluable to the mature artist. The second significance involves the viewer, whom I hope reconsiders the images of women displayed in contemporary society.The project’s five large-scale etchings of the female figure portray in a series my ideas about roles women are expected to assume in contemporary American society. These ideas unfolded especially during the creation of the first and second etchings.The report of the project deals extensively with the drawing and etching techniques used for each print; a description of each of the works; the ideas which inspired the content of the works; how these ideas were transformed into visual images; and the technical competencies that I acquired while working through each plate.Department of Art
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Landis, Tamra R. "How a Successful Collecting Society Can Transform an Art Museum: A History of The Georgia Welles Apollo Society at the Toledo Museum of Art." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522759729069838.
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Kollamkuzhi, Dharman Amrutha <1991>. "Cross-Border mobility in Europe. Issues and State of the Art." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19990.
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Mobility is identified as the key element by European Council for achieving goals of the revised Lisbon strategy and for the implementation of the European Employment Strategy . Mobility patterns are traditionally selective. They may differ considerably with regards to
motivation, age, level of skills and experiences. Historical ties also seem to play a lasting role in the shaping and importance of cross-border movements . Recent research on cross-border mobility has identified three parameters which determine decisions to move between living and working places: wage and income differentials; employment opportunities; individual opportunity and risk assessment. With regard to cross-border mobility, an important role is attached to the regional distribution of economic wealth and the chances of finding gainful employment . In Europe, cross-border commuting is an increasing phenomenon . In 2013 the total number commuters were about 1.6 million, which further increased to 1.9million in 2015 and to 2.1 million in 2019 . The process of European integration based on historical steps as the establishment of the Schengen Area and the
Euro currency, as well as the abolition of systematic border controls, fostered the growing permeability of national borders .
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Ravadrad, Azam. "The social determination of art: a theoretical and empirical investigation." Thesis, [Campbelltown, N.S.W. : The Author], 1996. http://handle.uws.edu.au:8081/1959.7/28857.
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This study sets out to develop a sociological approach to art and literature which views art as a socially situated knowledge and which at the same time preserves an independent and unique sphere of activity for art that enables it to offer life opportunities of a different nature from those of the established social order. To fulfill this task two complementary studies were carried out; a theoretical investigation and an empirical research. First, this critically examines existing theories in the sociology of knowledge and art and focuses on the problem of the 'social determination of art and literature.' This examination is based in the consideration of art as an element in the knowledge sphere and the sociology of art as a branch of the sociology of knowledge. A critique of the notion of the 'social determination of art' leads to a set of hypotheses which are tested in the field. The question of great art problematises the 'social determination' hypotheses. Secondly, an empirical study of Australian playwrights is carried out which examines the hypotheses derived from the theoretical investigation. The empirical methods of this study is a survey, using a mail questionnaire, supported by interviews with professionals in Australian drama. This is combined with a documentary study of the socio-economic conditions of Australia during the last 25 years, together with content analysis of plays written by Australian playwrights during the same period. The results of the empirical investigation support the proposed hypotheses showing that while social conditions effect contemporary artistic works, this effect is not uniform when comparing 'first rate' of 'great art' with other artistic creations. This questions the concept of the social determination of art explored in the thesis, and at the same time questions the extent and scope of such a determination. Finally, the conclusion of the thesis is that sociology is relevant in the analysis of artistic works so long as it is concerned with the social dimension of art. It is concluded that the aesthetic knowledge of the artist, which determines the quality of artistic works, is independent from social forces. Although art bears the mark of contemporary social conditions, it is not a product of these conditions.