Dissertations / Theses on the topic 'Artists and patrons – Fiction'
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Davis, Peter B. "The curve of Kate's nose." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1041883.
Full textDepartment of English
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 textLaw-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 textNaylor, 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 textCornet, 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 textThe 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
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 textChott, Laurence R. "The artist as prisoner in the fiction of Bernard Malamud." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/440948.
Full textForbes, 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 textMillis, Jessica M. "An artist's childhood : short stories." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391234.
Full textTaylor's stories -- You'll call her tomorrow -- Where to look -- Filling in the gaps -- Certainly not me.
Department of English
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 textNorman, Diana. "The patronage of Cardinal Oliviero Carafa 1430-1511." Thesis, n.p, 1989. http://ethos.bl.uk/.
Full textManion, 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 textWood, 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 textThe 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.
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 textMolloy, 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 textSimons, 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 textSitzia, 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 textLaclau, Adeline. "Les manuscrits enluminés dans le sultanat mamlūk au XIVe siècle." Thesis, Aix-Marseille, 2019. http://www.theses.fr/2019AIXM0200.
Full textThis 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
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 textMade 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
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 textERC 263699-CEV
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 textHsü, 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 textCardoso, 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 textCerne, Helen. "Circling Lina: alternative narratives exploring Lina Bryans, the Darebin artists and the self." Thesis, 2013. https://vuir.vu.edu.au/25414/.
Full textBroadbent, Lianne Rose. "Portrait with Still Life: Re-imagining Silenced Women’s Stories Through Historiographical Metafiction." Thesis, 2017. https://vuir.vu.edu.au/40538/.
Full textFergus, Larissa. "My sister chaos : women and exile : a novel and inter-layered exegesis." Thesis, 2010. https://vuir.vu.edu.au/30098/.
Full text"王世貞(1526-1590)藝術贊助的研究." Thesis, 2006. http://library.cuhk.edu.hk/record=b6074331.
Full textChapter 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.
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 textMember 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)