Dissertations / Theses on the topic 'Artists and patrons – Fiction'
To see the other types of publications on this topic, follow the link: Artists and patrons – Fiction.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 28 dissertations / theses for your research on the topic 'Artists and patrons – Fiction.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Davis, Peter B. "The curve of Kate's nose." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1041883.
Full textAbstract:
My creative thesis project will be a loosely composed story consisting of fragments of prose, poetry, and possibly random notes and/or letters. In length, my project will be somewhere between fifty and a hundred pages.The premise of my story will be this: Henry Egan is a painter. One day, Henry Egan paints a line that he believes is the first line of his masterpiece. (Henry Egan longs for the immortality afforded to the creators of masterpieces. He has waited, and nearly given up, on the divine luck required to be immortal.) Now, Henry Egan believes he has begun his masterpiece. He believes he is painting with genius and that his genius will be remembered. He is so sure (or, possibly, unsure) that this painting will ensure his immortality that he is documenting its completion.This is my creative project: The journal/study-guide that Henry Egan writes while painting his masterpiece. There is, of course, a problem. Henry Egan's masterpiece is of a woman he is in love with, Kate. She is both the inspiration and subject of his masterpiece. He associates his masterpiece and Kate so strongly that difficulties with Kate create difficulties in painting, and visa-versa. This problem manifests itself in a variety. At any rate, Henry Egan's inability to clearly distinguish artistic creation from reality is an issue, and the major part of the plot and theme revolve around this difficulty.The significance of this problem I do not feel I can accurately-judge, given that my feelings about this problem are of little significance compared to the feelings of the reader. I do not see how a writer can accurately judge (or impose upon) the significance of a problem he or she has invented.For lack of a better phrase, I will say that my project could be categorized as `stream of conscious' writing.Department of English
2
Melville, Jennifer. "John Forbes White and George Reid : artists and patrons in north-east Scotland 1860-1920." Thesis, University of Edinburgh, 2001. http://hdl.handle.net/1842/8162.
Full textAbstract:
John Forbes White's contribution to the history of Art in Scotland was, for the first seventy years after his death, mentioned only in passing by the main writers on Scottish art of the day. However, two of his daughters, Ina Mary Harrower and Dorothea Fyfe, both wrote articles on aspects of their father's collecting: Ina publishing "Private Picture Galleries, The Collection of John Forbes White" in Goodwords in 1896 (pp 813-819), John Forbes White (Edinburgh) in 1918 and in 1927, "Jozef lsraels and his Aberdeen Friend" for the Aberdeen University Review (pp 108-122). A noted art historian, Ina reflected her father's taste and collecting interests in her own writings, as with, for example, "Studies of Fruit by Courbet" Apollo (Vol. L No 296 1949 pp 95-98). Dorothea, with her co-author C.S. Minto, published John Forbes White, Miller, Collector, Photographer 1831-1904 (Edinburgh 1970). The only other writers who have examined White's contribution to art in any detail were Charles Carter, who as curator of Aberdeen Art Gallery, covered art and patronage in the North-East of Scotland in numerous articles and outlined White's contribution in "Art Patronage in Scotland: John Forbes White" published in the Scottish Art Review,(Vol VI, no 2, 1957, pp. 27-30). Frances Fowle, on completion of her PhD on Alexander Reid, also discussed White's tastes in "The Hague School and the Scots, A Taste for Dutch Pictures" (Apollo August 1991 pp 108-111). George Reid was still less favoured by critics after his death. With J.L. Caw championing James Guthrie and William MacTaggart, the innovative and influential aspects of Reid's art were obscured, reduced and even sometimes credited to others. W.D. McKay in The Scottish School of Painting (London 1906) had played down Reid's part in the introduction of Realism into Scotland and Agnes McKay in her monograph on Arthur Melville (Lee on Sea, 1951) went furthest of all in portraying Reid as the enemy of a younger, more innovative group of artists, who included the subject of her book. It was to be another thirty years before Dun can Macmillan would examine Reid, in Scottish Art 1460-1990 (Mainstream, 1990) as an important landscape painter, rather than, as had been the case before, as a reactionary president of the Royal Scottish Academy and an extremely dull, if talented, portrait painter. One year later John Morrison, having completed his PhD Rural Nostalgia: Painting in XIX Scotland c.1860-1880 (St Andrews 1989) wrote of Reid's important European contacts and of the vital relationship between White and Reid in "Sir George Reid in Holland, his work with G.A. Mollinger and Jozef Israels" (Jong Holland 1991 No 4 pp 10-19). Both the assets and the faults of Alexander Macdonald's collecting were examined by Charles Carter in "Alexander Macdonald 1837-1884 - Aberdeen Art Collector" (Scottish Art Review, Vol V, no 3, 1955, pp. 23-28) and again by Francina Irwin in an exhibition catalogue entitled Alexander Macdonald: From Mason to Maecenas in 1985. My main source of material has come from the uncatalogued archive of correspondence between George Reid, John Forbes White, Jozef Israels, George Paul Chalmers, David Artz, Gerrit Mollinger, Samuel Smiles and others, most of which is housed in Aberdeen Art Gallery. Reid's unpublished autobiography, transcribed by his wife Mia, (in the same archive) was also of great use, as was an unpublished but almost complete catalogue raisonne of Reid's work, compiled, probably by Percy Bate or Harry Townend c.1912. I have also made extensive use of the papers of James Pittendrigh Macgillivray which are held by The National Library of Scotland. The descendants of John Forbes White made the works and letters in their possession freely available to me. These included the correspondence between John Forbes White and William Stott of Oldham which is cited in Chapter 6. Elements of this thesis, and particularly sections 2,3, & 4 of Chapter 4, appeared in a revised form in "Art and Patronage in Aberdeen 1860-1920", a paper that I delivered at the Scottish Society of Art History's conference on Patronage, and which was published in The Journal of the Scottish Society for Art Historians (Volume 3 1998 pp 16-24). The sixth section of Chapter 5 appeared in a revised form, in An Album of Photographs compiled by Sir John Everett Millais PRA published in Studies in Photography (Edinburgh, 1997). The discussion of the influence of Ancient Greece and Classicism in the eighth section of Chapter 7 was included in a paper entitled John Forbes White, The Classical Tradition and Ideals In Art given at the conference on "The Role of Collections In The Scottish Cultural Tradition", which was held at Aberdeen University in 1998. The third section of Chapter 7 appeared in a revised form in Robert Brough (Aberdeen Art Gallery, 1995). Appendix A contains relevant excerpts from letters and text, on which much of my research was based whilst Appendix B lists the works of art owned by John Forbes White.
3
Law-Turner, Frederica C. E. "Artists, patrons and the sequence of production in the Ormesby Psalter : (Oxford, Bodleian Library MS Douce 366)." Thesis, Courtauld Institute of Art (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300899.
Full text
4
Naylor, Pat. "Artists, scribes and patrons : The enlargement and embellishment of two percy family manuscripts in the Early Sixteenth century." Thesis, Queen Mary, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.511348.
Full text
5
Cornet, Catherine. "In Search of an Arab Renaissance : artists, Patrons and Power in Egypt and the Middle East (2001-2013)." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0091.
Full textAbstract:
Le paradigme de la Nahda, ou Renaissance arabe est un puissant zeitgeist qui revient cycliquement dans la pensée et le monde culturel du Moyen-Orient depuis la fin du 19eme siècle. Cette thèse questionne les raisons du retour du paradigme dans les années 2000 (et en particulier entre 2001 et 2005) en Egypte et dans les Emirats (Doha et Sharjah) en observant les rapports de force entre différentes sphères artistiques et les structures de mécénat. Elle interroge la raison d'être de cette quête pour une Renaissance culturelle, les enjeux liées au mécénat, l'exploitation politique du culturel et en particulier les questions d'authenticité, de culture nationale et globale, musulmane ou séculière, d'indépendance et enfin, de liberté artistique. L'étude du paradigme passe à travers la comparaison des discours et des oeuvres des 'artistes d'états' soutenus par le pouvoir de Moubarak, des artistes commerciaux, qui derrière Adel Imam, sont les fers de lance du pouvoir séculier contre les islamistes égyptiens; et des artistes arabes et internationaux qui à Doha ou Sharjah gravitent autour du riche mécénat des Emirats. En opposition à l'état, plusieurs sphères sont étudiées: celle des artistes 'indépendants' mais soutenus par les fondations privées ainsi que la sphère des artistes musulmans qui proposent un fan al hadif, ou 'art modeste'. La sphère des artistes digitaux enfin, autonomes par rapport aux réseaux de mécénat, permet de confirmer l'existence d'une réelle Renaissance culturelle digitale soutenue par l'explosion des réseaux sociaux, une décennie avant les révolutions arabes. En questionnant la position des artistes vis à vis de leurs mécènes et par rapport au pouvoir, cette thèse souligne l'importance du discours culturel et artistique pour la sphère publique et ses répercussions sur les enjeux de citoyennetéThe Nahda, or "Arab Renaissance" is a powerful returning paradigm in Egypt and the Middle East cultural field since the end of the 19th century. The aim of this dissertation is to assess, through the study of the new paradigm, the autonomy of the arts in Egypt and the Middle East and their relation to power and to interrogate the role of art in identity definition and in the "dialogue" with Islam after 9/11 - and especially after foreign actors have greatly re-shuffled the power relationship. The first case study focuses on "state artists" in Egypt and studies the passage from the Tahtqif, or "culturisation" of Egyptians in the name of Enlightenment and the gradually undermining of state monopoly over identity politics. The second chapter is dedicated to Arab artists and their Gulf patrons: the agency of the "invisible hand" of the global artistic market is discussed, through two case studies in Doha and Sharjah. The third chapter assesses the state narrative against Islamists in Egypt through the figure of comedy actor Adel Imam. The second part is dedicated to the artists in opposition to the state. Chapter I reviews the agency of the artistic sphere in total opposition with the state, with the study of a group of young Muslim filmmakers who intented to contribute to a fann al hadif or "purposeful art". The two following chapters review the works of the "independent scene" that saw the light after the arrival arrival en masse of foreign funding in 2001, while the last case studies centred on Digital artists venture into giving the first hints of a conclusion about a Digital Renaissance that took place after after 2004, and of the adoption of social networks in Egypt. The importance of the arts in the political discourse, its agency in the process of secularization, nationalist debates or international relations in the time of globalisation, is barely mentioned in political science. This dissertation is intended to corroborate the claim that there is much to learn from the art spectrum and from its agency on societal changes and power struggles
6
Jackson, Cailah. "Patrons and artists at the crossroads : the Islamic arts of the book in the lands of Rūm, 1270s-1370s." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:2d687f25-fb80-4470-b259-72714ba24386.
Full textAbstract:
This dissertation is the first book-length study to analyse the production and patronage of Islamic illuminated manuscripts in late medieval RÅ«m in their fullest cultural contexts and in relation to the arts of the book of neighbouring regions. Although research concerning the artistic landscapes of late medieval Rūm has made significant progress in recent years, the development of the arts of the book and the nature of their patronage and production has yet to be fully addressed. The topic also remains relatively neglected in the wider field of Islamic art history. This thesis considers the arts of the book and the part they played in artistic life within contemporary scholarly frameworks that emphasise inclusivity, diversity and fluidity. Such frameworks acknowledge the period's ethnic and religious pluralism, the extent of cross-cultural exchange, the region's complex political situation after the breakdown in Seljuk rule, and the itinerancy of scholars, Sufis and craftsmen. Analyses are based on the codicological examination of sixteen illuminated Persian and Arabic manuscripts, none of which have been published in depth. In order to appropriately assess the material and to partially redress scholarly emphases on the constituent arts of the book (calligraphy, illumination, illustration and binding), the manuscripts are considered as whole objects. The manuscripts' ample inscriptions also help to form a clearer picture of contemporary artistic life. Evidence from further illuminated and non-illuminated manuscripts and other textual and material primary sources is also examined. Based on this evidence, this dissertation demonstrates that Rūm's towns had active cultural scenes despite the frequent outbreak of hostilities and the absence of an effective centralised government. The lavishness of some manuscripts from this period also challenges the often-assumed connection between dynastic patronage and sophisticated artistic production. Furthermore, the identities and affiliations of those involved in the production and patronage of illuminated manuscripts reinforces the impression of an ethnically and religiously diverse environment and highlights the role that local amīrs and Sufi dervishes in particular had in the creation of such material.
7
Chott, Laurence R. "The artist as prisoner in the fiction of Bernard Malamud." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/440948.
Full textAbstract:
The general idea of imprisonment in Bernard Malamud's ficiton manifests itself in his artists, who may be understood as "prisoners" dramatizing the artistic process as Malamud views it.Malamud's artists' struggle to balance art and life is expressed through the idea of imprisonment. When overemphasizing art, the artist is isolated, "imprisoned" in his or her work. Although this imprisonment is necessary temporarily, the artist must meet worldly responsibilities to find the freedom to create art, though artistic success is not guaranteed.Malamud's artists are always somehow imprisoned. In "The Girl of My Dreams" (1953), the writer Mitka rejects an uncooperative world, whereas the writer Olga transcends poverty and accepts the world. In "Man in the Drawer" (1968), the writer Levitansky is trapped in a totalitarian state. In "Rembrandt's Hat" (1973), the failed sculptor Rubin perseveres in art. And in "The Model" (1983), Elihu, mistaking himself for an artist, dehumanizes his model, Ms. Perry.In Pictures, Qj Fidelman (1969), Fidelman is imprisoned in artistic perfectionism. I n the Tenants (1971), writers Harry Lesser and Willie Spearmint are imprisoned in their obsessions. And in Dubin's Lives (1979), dubin is trapped in a false self-image.Malamud's artists are of two types: (1) the successful whose continued fulfillment is in question and (2) the so-far unsuccessful. Subtypes in the first group are the liberated (Dubin), the potentially liberated (Mitka, Levitansky), and the perpetually imprisoned (Lesser). Subtypes in the second group are the liberated (Fidelman, Ms. Perry) and the perpetually imprisoned (Rubin, Willie, Elihu).The exception is the successful a liberated Olga. Appearing in an early (1953) story, Olga embodies an answer to the problems of the artist; twenty-six years later, in Dubin's Lives (1979), Malamud's answer is the same: Maintain balance between art and life; keep the demands of art subordinate to those of life.The idea of the artist as prisoner in Malamud's fiction implies the difficulty of artistic endeavor. Malamud's artists, like his other characters, face suffering. Their art is a potentially imprisoning complication, not an escape from life's problems. Ultimately, the artist must face the world and its demands.
8
Forbes, Duncan. "Artists, patrons and the power of association : the emergence of a bourgeois artistic field in Edinburgh, c.1775-c.1840." Thesis, University of St Andrews, 1997. http://hdl.handle.net/10023/9566.
Full textAbstract:
The period 1775-1840 witnessed a dramatic transformation in the size and complexity of the Edinburgh art world, with the rituals associated with fine art consumption emerging from the closed circles of the elite connoisseur and taking on new meanings in the more open and contested spaces of the urban public sphere. Expanding regimes of artistic exchange and consumption accelerated rapidly during the course of the 1820s, as the city's fine arts became more deeply embedded in British and Continental markets. For a growing audience of wealthy professional bourgeoisie and lesser gentry, the ownership of painting became the requisite component of refined urban living. However, this expansion -- dominated by the resale exchange of 'old' masters -- was not automatically a boon to contemporary artists. In a highly stratified artistic sphere many found the struggle for subsistence unequal. An early protective association, the Society of Artists, foundered on the rocks of its members' competing interests, and the formation of the Scottish Academy in 1826 was also riven by debilitating disputes between different groups of artists and their patrons. During a period of acute political turmoil, the press exploited these divisions for political gain, and disagreements over modes of patronage were easily represented in terms of the passions of party feeling. It was only in the wake of the Reform Act, and the remodelling of Edinburgh's body politic, that the 'problem' of the public emerged as a central concern of elite patronage. Members of the stumbling Scottish Academy joined with leading civic figures to found the first Edinburgh art union. Its successful harnessing of a largely middle-class public not only secured the financial prospects of the city's leading artists, but also offered civic elites a clearly defined pathway to social power and recognition. The cultural authority accruing to the fine arts allowed its managers to develop a self-interested 'governmental' agenda. However, the art union's dominance of the urban arts did not pass uncontested, and a counter organisation was formed to challenge its patrician management style. These disputes, combined with earlier confrontations, expose the complex array of competing interests that structured Edinburgh's emergent artistic field during the early decades of the nineteenth century.
9
Millis, Jessica M. "An artist's childhood : short stories." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391234.
Full textAbstract:
Short stories follows five different characters as they attempt to develop their earliest artistic impulses. Through the use of young protagonists, these stories demonstrate the ways in which our earliest experiences with loss and trauma often create a space for imaginative discovery; the collection reveals that it is the uniqueness of this space, this blend of premature emotional depth and naïve whimsy, that opens up new psychological possibilities for the child-artist. Meant to be read as a collection of intimate character sketches, these stories reveal the artist's intensely visual approach toward growth and maturity. Several stories concentrate specifically on what it means to sustain one's imagination into adulthood, while others use flashbacks to demonstrate the profound influence of childhood memories on adult behavior.Taylor's stories -- You'll call her tomorrow -- Where to look -- Filling in the gaps -- Certainly not me.
Department of English
10
Vanderlaan, Kimberly Marie. "The arts and artists in the fiction of Henry James, Edith Wharton and Willa Cather." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.85 Mb., 297 p, 2005. http://proquest.umi.com/pqdlink?did=1051280091&Fmt=7&clientId=8331&RQT=309&VName=PQD.
Full text
11
Norman, Diana. "The patronage of Cardinal Oliviero Carafa 1430-1511." Thesis, n.p, 1989. http://ethos.bl.uk/.
Full text
12
Manion, Christopher Edward. "Writers in religious orders and their lay patrons in late medieval England." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1133188098.
Full text
13
Wood, Susan M. "Seeing into the mirror the reality of fiction in the work of Carrie Mae Weems /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4900.
Full textAbstract:
Thesis (M.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 6, 2007) Includes bibliographical references.
14
Bell, Pamela. "Art that never was : representations of the artist in twentieth-century Australian fiction." Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
Full textAbstract:
This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.
15
Molloy, Carla Jane. "The art of popular fiction : gender, authorship and aesthetics in the writing of Ouida : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in English in the University of Canterbury /." Thesis, University of Canterbury. Culture, Literature and Society, 2008. http://hdl.handle.net/10092/1956.
Full textAbstract:
This thesis examines the popular Victorian novelist Ouida (Maria Louisa Ramé) in the context of women’s authorship in the second half of the nineteenth century. The first of its two intentions is to recuperate some of the historical and literary significance of this critically neglected writer by considering on her own terms her desire to be recognised as a serious artist. More broadly, it begins to fill in the gap that exists in scholarship on women’s authorship as it pertains to those writers who come between George Eliot, the last of the ‘great’ mid-Victorian women novelists, and the New Woman novelists of the fin de siècle. Four of Ouida’s novels have been chosen for critical analysis, each of which was written at an important moment in the history of the nineteenth century novel. Her early novel Strathmore (1865) is shaped by the rebelliousness towards gendered models of authorship characteristic of women writers who began their careers in the 1860s. In this novel, Ouida undermines the binary oppositions of gender that were in large part constructed and maintained by the domestic novel and which controlled the representation and reception of women’s authorship in the mid-nineteenth century. Tricotrin (1869) was written at the end of the sensation fiction craze, a phenomenon that resulted in the incipient splitting of the high art novel from the popular novel. In Tricotrin, Ouida responds to the gendered ideology of occupational professionalism that was being deployed to distinguish between masculinised serious and feminised popular fiction, an ideology that rendered her particularly vulnerable as a popular writer. Ouida’s autobiographical novel Friendship (1878) is also written at an critical period in the novel’s ascent to high art. Registering the way in which the morally weighted realism favoured by novelists and critics at the mid-century was being overtaken by a desire for more formally oriented, serious fiction, Ouida takes the opportunity both to defend her novels against the realist critique of her fiction and to attempt to shape the new literary aesthetic in a way that positively incorporated femininity and the feminine. Finally, Princess Napraxine (1884) is arguably the first British novel seriously to incorporate the imagery and theories of aestheticism. In this novel, Ouida resists male aesthetes’ exploitative attempts to obscure their relationship to the developing consumer culture while confidently finding a place for the woman artist within British aestheticism and signalling a new acceptance of her own involvement in the marketplace. Together, these novels track Ouida’s self-conscious response to a changing literary marketplace that consistently marginalised women writers at the same time that they enable us to begin to uncover the complexity of female authorship in the second half of the nineteenth century.
16
Simons, Patricia. "Portraiture and patronage in quattrocento Florence with special reference to the Tornaquinci and their chapel in S. Maria Novella /." Connect to thesis, 1985. http://eprints.unimelb.edu.au/archive/00000836.
Full text
17
Sitzia, Emilie. "L'artiste entre mythe et réalité dans trois œuvres de Balzac, Goncourt et Zola." Åbo : Åbo Akademis Förlag, 2004. http://books.google.com/books?id=mzRlAAAAMAAJ.
Full text
18
Laclau, Adeline. "Les manuscrits enluminés dans le sultanat mamlūk au XIVe siècle." Thesis, Aix-Marseille, 2019. http://www.theses.fr/2019AIXM0200.
Full textAbstract:
Cette thèse porte sur les manuscrits enluminés réalisés dans le sultanat mamlūk au XIVe siècle. Ces ouvrages, produits en nombre, représentent aujourd'hui une masse critique non négligeable afin d’étudier les divers mécanismes de la production manuscrite en Egypte et Syrie à la fin du Moyen Age. Grâce aux sources historiques et à une analyse du livre en tant qu’objet et œuvre d’art, cette étude propose de retracer le processus de fabrication et le contexte de production de ces manuscrits. La méthode de travail adoptée s’articule autour de trois axes principaux : d’abord, l’observation attentive du support via l’usage et l’évolution des formats de papiers employés, celle de la mise en page et des écritures, puis l’analyse des enluminures essentiellement fondée sur des considérations relatives à leur construction géométrique. En unissant plusieurs disciplines comme la codicologie, la paléographie et l’histoire de l’art, cette étude met alors en lumière l’identité des différents acteurs et leur rôle au sein de cette production artistique, mais aussi l’introduction et l’évolution de certains modes opératoires dans le processus de fabrication ou dans l’exercice du mécénatThis thesis focuses on the illuminated manuscripts produced in the Mamlūk sultanate during the 14th century. These works, produced in large numbers, now represent a significant critical mass in order to study the various mechanisms of manuscript production in Egypt and Syria at the end of the Middle Ages. Using historical sources and an analysis of the book as an object and work of art, this study proposes to trace the manufacturing process and production context of these manuscripts. The working method adopted is based on three main axes: first, careful observation of the medium through the use and evolution of the paper formats used, the layout and writing, and then the analysis of illuminations, essentially based on considerations relating to their geometric construction. By combining several disciplines such as codicology, palaeography and art history, this study highlights the identity of the various actors and their role within this artistic production, but also the introduction and evolution of certain operating modes in the manufacturing process or in the exercise of patronage
19
Sandes, Luis Fernando Silva. "Geração concretista em São Paulo: uma biografia coletiva." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21384.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-29T11:32:45Z
No. of bitstreams: 1
Luis Fernando Silva Sandes.pdf: 772251 bytes, checksum: 71d252e917d56a0f10a9060879893d48 (MD5)Made available in DSpace on 2018-08-29T11:32:45Z (GMT). No. of bitstreams: 1 Luis Fernando Silva Sandes.pdf: 772251 bytes, checksum: 71d252e917d56a0f10a9060879893d48 (MD5) Previous issue date: 2018-08-08
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This master’s dissertation examines the action of a group of fifteen artists and poets linked to the concrete art movement in Sao Paulo starting on the 1950s. The research problem refers to the constitution of the concrete art group and to its role on the modernization of the Brazilian artistic field. The research’s general objective is to understand how the affirmation of the concrete art generation in the city of Sao Paulo during the 1950s took place. There are three important theoretical and methodological tools: collective biography’s method and the concepts of generation from Mannheim and field from Bourdieu. These tools, the situation of the artistic field from that time, and the relation of the Brazilian concrete art movement to the constructive movement are discussed in the introduction. In the second chapter, the dissertation limits itself to the period from 1947 to 1959. During such time span, cultural institutions relevant to the appearance of concrete art movement have arisen. The concrete art movement emerged officially in 1952. Active as a group until 1959, it held debates with other artistic streams and took over relevant positions in the artistic field. Focusing this period of twelve years, the collective biography’s method is used. Such method prescribes extracting relevant social information from defined populations. The resulting collective biography shows a variety of topics, artistic or not strongholds, and exhibits, all in common to the fifteen selected people. In the following two chapters, concrete art movement in Sao Paulo is studied in its unfoldings. In the third chapter factors that have collaborated for the recovery of concrete art after its peak during the 1950s are raised. Among those factors are art collections, art galleries, libraries and book anthologies. In the fourth chapter the echoes of concrete art movement in the contemporaneity are investigated. It is studied how concrete art movement is still nowadays present in the artistic field, considering its artistic proposals and beyond. As a conclusion a group portrait is shown, in which commonalities of the studied population are specified and a interpretative viewpoint is done. The examined material is composed of biographies, manifestoes, autobiographical pieces of writing, exhibition catalogues, monographic studies on artists, articles and critiques published in newspapers, interviews to the author, among others
Esta dissertação examina a atuação de um grupo de quinze artistas e poetas ligados ao concretismo paulista a partir dos anos 1950. O problema da pesquisa se refere à constituição do grupo concretista e à sua atuação na modernização do campo artístico brasileiro. O objetivo geral da pesquisa é compreender como se deu a afirmação da geração concretista na cidade de São Paulo desde a década de 1950. São importantes três ferramentas teóricometodológicas: o método da biografia coletiva e os conceitos de geração de Mannheim e de campo de Bourdieu. Essas ferramentas, a situação do campo artístico de então e a relação do concretismo brasileiro com o construtivismo são discutidos na introdução. No segundo capítulo, a dissertação se restringe ao período de 1947 até 1959. Nesse intervalo, surgiram instituições culturais importantes para que o concretismo se desenrolasse. O movimento concreto surgiu oficialmente em 1952. Ativo como grupo até 1959, entrou em debates com outras correntes artísticas e assumiu postos de relevo no meio artístico. Com foco nesse período de doze anos, é utilizado o método da biografia coletiva. Esse método prevê extrair informações sociais relevantes de populações definidas. A biografia coletiva resultante indica uma variedade de tópicos, redutos artísticos ou não e exposições em comum entre os quinze selecionados. Nos dois capítulos seguintes, o concretismo paulista é estudado em seus desdobramentos posteriores. No terceiro capítulo, são levantados fatores que colaboraram para a retomada do concretismo após seu auge na década de 1950. Entre eles, encontram-se exposições, coleções de arte, galerias, bibliotecas e antologias. No quarto capítulo, são investigados os ecos do movimento concreto na contemporaneidade. Ou seja, é pesquisado como o concretismo ainda se encontra presente atualmente no meio artístico, em suas propostas artísticas e além. Como conclusão, é apresentado um retrato de grupo, no qual explicitam-se aspectos em comum da população e realiza-se uma visada interpretativa. O material examinado é composto por biografias, manifestos, escritos autobiográficos, catálogos de exposições, estudos monográficos sobre artistas, matérias e críticas de arte publicadas em jornais, entrevistas ao autor, entre outros
20
Fürst, Henrik. "Selected or Rejected? : Assessing Aspiring Writers’ Attempts to Achieve Publication." Doctoral thesis, Uppsala universitet, Sociologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-312277.
Full textAbstract:
In many markets for cultural goods, gatekeepers select the cultural goods, relatively few cultural goods are selected, and the criteria for selection are unclear to both artists and gatekeepers. Not knowing whether cultural goods are of the 'right' quality to be selected, artists and gatekeepers become preoccupied with handling quality uncertainty. This thesis studies such handling of quality uncertainty before, during, and after aspiring writers attempt to succeed in the publishing market. Drawing on eighty interviews with mainly aspiring writers and publishers in Sweden, three papers investigate three phases of handling quality uncertainty in the publishing market. First, in attempting to get published, writers handled uncertainty about how the quality of their work would be evaluated in the publishing market by using appraisal devices: trusted, knowledgeable appraisals of their work’s chances of success or failure on the publishing market. Second, publishers responded to uncertainty about the quality of manuscripts by learning to consider means before ends, such that certain qualities of their reading experience became the necessary means for realizing that the manuscript might be publishable. This realization moved the manuscript from the discovery phase to justification phase, in which publishers made a final decision to select or reject the manuscript. Third, for the rejected writer, the uncertainty of not knowing how the publisher had determined the quality of the manuscript made it possible to excuse the course of events. Writers gave reasons why their manuscript had been rejected based on how they imagined publishers had determined its quality. They accepted the occurrence of failure but dismissed the responsibility for having failed. Writers also engaged in justifications, refusals, and concessions of the perceived failure. These concepts for analyzing the publishing market are based on a perspective that takes into account subjectivity, temporality, and the condition of quality uncertainty. The perspective and concepts are useful for understanding other market situations in the cultural industries, wherein the successful hiring of cultural workers and the acquisition of cultural goods are rare relative to the number of aspirants, and wherein assessments are conditioned by quality uncertainty that needs to be handled.ERC 263699-CEV
21
Ham, Suok. "Zum Bild der Künstlerin in literarischen Biographien : Christa Wolfs Kein Ort. Nirgends, Ginka Steinwachs' George Sand und Elfriede Jelineks Clara S." Würzburg Königshausen & Neumann, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3028788&prov=M&dokv̲ar=1&doke̲xt=htm.
Full text
22
Hsü, Cheng-chi. "Patronage and the economic life of the artist in eighteenth century Yangchow painting." 1987. http://catalog.hathitrust.org/api/volumes/oclc/19614699.html.
Full text
23
Cardoso, Paula Filipa Freire. "Art, Reform and Female Agency in the Portuguese Dominican Nunneries: Nuns as Producers and Patrons of Illuminated Manuscripts (c. 1460-1560)." Doctoral thesis, 2019. http://hdl.handle.net/10362/76840.
Full textAbstract:
This thesis aims to address the nuns‘ agency in the production and patronage of illuminated manuscripts in the Portuguese Dominican nunneries in the period 1460-1560, which was marked by the expansion of the Observant movements. Through this concrete case, it is my goal to contribute to the current knowledge on the role of nuns on the production and patronage of art for their convents, a field that, besides benefiting from a great development in regions such as the German speaking lands, the Italian Peninsula or the Hispanic Kingdoms in the last three decades, is still practically unexplored in Portuguese territory. By linking the contexts and agents behind the development and history of the Portuguese Dominican nunneries with the information provided by the surviving books produced and commissioned by the nuns, I will try to bring to light new hypothesis on matters connected not only to the dynamics of production and commission of books in and for these religious houses, but also in other matters such as the functionality and usage of these books; nuns‘ temporal and spiritual autonomy; their level of literacy; and the connections between illumination and communal memory and devotion. In order to tackle the hurdles imposed by the meager number of surviving documental sources, and present a contextualized analysis of the Portuguese scenario, I will also provide examples of other Dominican provinces and religious orders in which the use of art was also marked by the reformative environment of the Observant movements from the Late-Middle Ages to the Early-Modern period.
24
Cerne, Helen. "Circling Lina: alternative narratives exploring Lina Bryans, the Darebin artists and the self." Thesis, 2013. https://vuir.vu.edu.au/25414/.
Full text
25
Broadbent, Lianne Rose. "Portrait with Still Life: Re-imagining Silenced Women’s Stories Through Historiographical Metafiction." Thesis, 2017. https://vuir.vu.edu.au/40538/.
Full textAbstract:
This thesis is made up of two separate components: a creative manuscript titled Portrait with Still Life and its accompanying exegesis. The project as a whole problematizes the links between life and fiction, examines the power of female artistic ‘voice’, in both imagery and text, and discusses the significance of this voice in re- imagining silenced women’s stories. Furthermore, the intersection of image and text used throughout is central to the development of the overall structure of this thesis and its attempt to answer key questions: What is the potential of historiographical metafiction in creating awareness of the exclusion of women from official history and dominant narratives, particularly women who have been institutionalised or have transgressed societal norms? What is the possibility of female artistic endeavour, particularly artists who utilize disquiet and unease in their work, in highlighting the uniquely gendered experience of women in Western society? It further questions whether the use of imagery as a metafictional device in the creative manuscript can contribute to the analysis of subjectivity in historical writing and be used as a method to unearth silenced women’s stories.
Portrait with Still Life is an experimental text that uses historiographical metafictional devices to highlight the gaps and omissions inherent in many women’s lives. The novel blurs the boundaries between fiction, historical writing, memoir and biography in order to explore and re-imagine the lives of women – both past and present. The hybrid nature of the creative work as fictional autobiography is a significant aspect of this text and its aim to highlight the links between life and art, and that it is rooted in fact. The narrative recounts the story of Sarah, a contemporary Australian woman suffering from mental illness, her quest to discover the mystery of her ancestor Rebecca, and how this process allows her to not only write Rebecca’s story but also come to terms with her own difficult past. The dream that Sarah harbours of finding connection with a haunting image of Rebecca, and the narrative she creates, is integral to her eventual freedom and recovery.
The exegesis discusses the work of a number of female writers and artists, particularly women who have used autobiographical and historiographical metafictional devices in their work, and how they have influenced and informed the writing of the creative manuscript. It also explores the power of the artist’s voice, both in image and text, and the importance of this voice in the recovery of hidden or silenced stories in order to attempt to answer the overarching questions outlined above. The use of my own personal story throughout each part of the exegesis further examines the links between life and artistic pursuit and its role in highlighting women’s gendered experience in order to question, and eventually counter, its negative experience on many women in contemporary society.
26
Fergus, Larissa. "My sister chaos : women and exile : a novel and inter-layered exegesis." Thesis, 2010. https://vuir.vu.edu.au/30098/.
Full textAbstract:
My Sister Chaos: Women and Exile is a creative writing thesis in a single volume. It
comprises a novel - My Sister Chaos - and exegesis. Both novel and exegesis are
centred around a research question: 'What are some ways of constructing and
representing the idea of exile as it relates to women, particularly as lesbians and as
artists?' The novel responds creatively to the question, and the exegesis engages it
through the forms and processes of academic analysis. The research draws on the
theoretical frameworks of feminist human rights and socio-political theory, as well as
lesbian feminist literary theory and philosophy. Conceptual links and associations are
created, images juxtaposed, and patterns identified to generate new ideas through the
interaction of both creative and 'academic' methodologies. The broad question of how
exile is experienced by women is layered with considerations of how women who reject
'the category of sex' live in a society founded upon that distinction, and how they, as
artists, seek to understand and represent a world to which they do not 'belong.'
27
"王世貞(1526-1590)藝術贊助的研究." Thesis, 2006. http://library.cuhk.edu.hk/record=b6074331.
Full textAbstract:
Chapter 1 reviews the background to the rise of art patronage studies and their development and its influence on studies of Chinese art history. It also provides alternative approaches to studying activities related to patronage and their influence and role in Chinese art history by criticising traditional analysis of Chinese art based on social and economic theories.Chapter 2 examines the life of Wang and explores the intentions and meaning to his patronage activities through studying his political involvement, literary activities and his social background and connections.
Chapter 3 discusses how Wang, given his knowledge in history and passion for art and its collection, reinterprets art history with reference to his private collection of art, and thereby consolidating his status as a leading figure of literary and cultural circle of his time.
Chapter 4 explains and reflects on the formation of the "artist-patron" relationship through examining the relationship and interaction between Wang and the literary circle and by appraising the financial background and standing of artists and calligraphers at the time.
Chapter 5 examines the direct impact that Wang, as a literary leader and patron of the art, has on the styles and subject matter of art work by examining and decoding several pieces of art commissioned by himself, thus revealing a distinct mechanism in which art was produced at the time.
Chapter 6 discusses the "artist-patron" relationship and the "trading of cultural resources" by examining diverse pieces of art work given to Wang as gifts by different individual artists and calligraphers.
Chapter 7 analyses the significance of the patronage activities of Wang and provides a new approach to understanding the issue of traditional Chinese art patronage in Chinese art history.
Through a case study of the life of Wang Shizhen, this research attempts to analyse the influence of literary leader and patron of the arts on the development of painting and calligraphy during the mid-Ming period. By analysing the "artist-patron" relationship, this paper attempts to explain alternative mechanism through which traditional Chinese art was produced. The thesis also examines art patronage activities in Suzhou during the sixteenth century and thereby attempts to examine these activities from the broader cultural and historical context at the time. This paper is divided into seven chapters:
鄧民亮.
論文(哲學博士)--香港中文大學, 2006.
參考文獻(p. 298-320).
Advisers: Tsung-i Jao; Kar Leung Mok.
Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0378.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (p. 298-320).
Deng Minliang.
28
Babatunde, Samuel Olufemi. "Engagement et militantisme dans le Docker Noir (1956), les Bouts de bois de Dieu (1960) et Xala (1973) de Sembène Ousmane." Thesis, 2015. http://hdl.handle.net/10500/19617.
Full textAbstract:
Text in FrenchMember of the union of black workers in the port of Marseille, in France, and an eyewitness to the misery of black workers in the European environment, Sembène Ousmane, in 1956, wrote, using his personal experiences, his first book entitled The Black Docker. In this novel, he describes the sufferings of the working class, the struggle between colonisers and colonised. In 1960, he uses as a pretext the strike of the Senegalese railway workers in 1937 to write a book entitled God's Bits of Wood. In this story where two forces clashed, on one hand, the colonised struggling against the colonial system and want, at all costs, to improve their living conditions, and on the other hand, the colonisers that are in support of their colonialist ideals and refuse the changes, the author tells the epic story of strikers in Senegal and their relentless struggles against the colonisers to change their living conditions for better. In 1973, an eyewitness of the daily realities of his native country, Senegal, after gaining national sovereignty, Sembène Ousmane wrote and published a book entitled Xala. In this book, he describes the evils of neo-colonialism and criticises the new African middle class, born after independence. After reading these novels, one notes that Sembène Ousmane, a defender of freedom, denounces the injustices done to the blacks, both in the colonial era as well as in the post colonial period. This is why from a book to another, he continues tirelessly his struggle against colonialism and neo-colonialism, evoking the sufferings and tragedies endured by the Africans. It occurs constantly in his imaginary creations, a theme, or better still a dialectical; commitment and militancy. What does he mean by « commitment » and « militancy » ? How do these two concepts manifest themselves in the works of the Senegalese writer? What strategy does he propose to the oppressed in the struggle against the oppressors? What means has he put at the disposal of the disinherited struggling to break the yoke of oppression and exploitation in order to achieve freedom and equality?
Membre du syndicat des travailleurs noirs, au port de Marseille, en France, et témoin oculaire de la misère vécue par les ouvriers noirs dans ce milieu européen, Sembène Ousmane, en 1956, écrit, en se servant de ses expériences personnelles, son premier ouvrage intitulé Le Docker noir. Dans ce roman, il décrit la souffrance de la classe ouvrière, la lutte entre colonisateurs et colonisés. En 1960, il se sert d’un prétexte, la grève des ouvriers sénégalais en 1937, pour écrire un ouvrage intitulé Les Bouts de bois de Dieu. Dans ce récit, où s’affrontent deux forces, d’une part les colonisés qui luttent contre le système colonial et veulent, à tout prix, l’amélioration de leurs conditions de vie, et d’autre part, les colonisateurs qui soutiennent les idéaux colonialistes et refusent le changement, l’auteur relate l’histoire épique des grévistes au Sénégal, et la lutte implacable qu’ils mènent contre les colonisateurs pour le changement de leurs conditions de vie. En 1973, témoin oculaire des réalités quotidiennes de son pays natal, le Sénégal, après son accession à la souveraineté nationale, Sembène Ousmane écrit et publie, un ouvrage intitulé Xala. Dans ce livre, il décrit les méfaits du néocolonialisme et critique la nouvelle classe bourgeoise africaine, née après l’indépendance. Après lecture des trois romans, on constate que Sembène Ousmane, défenseur de la liberté, dénonce les injustices faites aux Noirs, aussi bien à l’époque coloniale qu’à la période postcoloniale. C’est pourquoi, d’un ouvrage à l’autre, il continue, inlassablement, sa lutte contre le colonialisme et le néocolonialisme, en évoquant les souffrances et les drames endurés par les Africains. Il revient, constamment, dans ses créations imaginaires, à une thématique, ou mieux une dialectique, l’engagement et le militantisme. Qu’entend-il par « engagement » et « militantisme »? Comment ces deux lexèmes se manifestent-ils dans les écrits de cet écrivain sénégalais? Quelles stratégies propose-t-il aux opprimés dans la lutte qui les oppose aux oppresseurs? Quels moyens met-il a la disposition des déshérités en lutte pour briser le joug de l’oppression et celui de l’exploitation afin d’obtenir la liberté et l’égalité?
Linguistics and Modern Languages
D. Litt. et Phil. (French)