Dissertations / Theses on the topic 'Artists in the 21st century'
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Smith, Heather L. "Motion graphics documentary video of Deaf artists of the 21st century /." Online version of thesis, 2008. http://hdl.handle.net/1850/8043.
Full textvan, der Walt Jonathan Petra. "Craftsmanship in contemporary art: an exposition of selected artists’ practical non-involvement." Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/21285.
Full textBryant, Benjamin R. "The artist as shaman." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1327289.
Full textDepartment of Art
Reichelt, Victoria, and n/a. "Painting's Wrongful Death: The Revivalist Practices of Glenn Brown and Gerhard Richter." Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060901.143140.
Full textReichelt, Victoria. "Painting's Wrongful Death: The Revivalist Practices of Glenn Brown and Gerhard Richter." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/366187.
Full textThesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Full Text
Merello, Andrea Kathleen. "A case study of artists from the Kansas City Schools Experiment." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6209.
Full textBradley, Lynne M. "Found in translation: Transcultural performance practice in the 21st century." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/104124/1/Lynne_Bradley_Thesis.pdf.
Full textSmith, Olga. "Between reality and fiction : the art of French photography since the 1970s." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.
Full textPryde-Jarman, D. "Curating the artist-run space : exploring strategies for a critical curatorial practice." Thesis, Coventry University, 2013. http://curve.coventry.ac.uk/open/items/ec4c19c4-55de-475d-a95f-0a310c037ced/1.
Full textLi, Ping-Yeh. "Toward 21st century Wundermaschinen : a practice-based inquiry developing media archaeology as an artistic methodology." Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3633.
Full textPashkevich, Kalina, Jiangxin Liu, Karan Khurana, Bohdan Kass, and Bohdan Protsyk. "Artistic means of decorative finishing of men`s clothing in the collections of designers of the 21st century." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18174.
Full textДосліджено різновиди декоративного оздоблення чоловічого костюма, які використовували дизайнери світових Будинків моди у своїх колекціях на початку ХХІ ст. Визначено основні напрями розвитку декорування чоловічого одягу, його основні тенденції; виявлено художні засоби оздоблення чоловічого костюма.
Roche, Judith D. "The role of the artist at the beginning of the twenty-first century: An exploration of dialectical processes in art and science with particular reference to biologically based art." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/1571.
Full textKaemmerling, Astrid. "Walking the Gentrifying Streetscape: Artistic Practice in San Francisco's Mission District (2006-2016)." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1466446720.
Full textShopshear, Jennifer Lynne. "21st century skills for 21st century learners." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3264.
Full textPopper, Rafael. "21st century foresight." Thesis, University of Manchester, 2011. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:151961.
Full textPenet-Merahi, Camille. "L’écriture dans la pratique des artistes algériens de 1962 à nos jours." Thesis, Université Clermont Auvergne (2017-2020), 2019. http://www.theses.fr/2019CLFAL002/document.
Full textThis thesis seeks to shed new light on the practices of Algerian artists from 1962 to the present day by examining the connection between writings and works of art, whether in the interweaving of words in the artistic work such as the titles, the autonomy of the artists’ writing, or the collaborative practices of artists and writers. Drawing from a corpus of work consisting of tutelary figures of the post-independence period such as Mohammed Khadda, Choukri Mesli, or Denis Martinez, of artists from the 1990s such as Adel Abdessemed, Kader Attia, or Rachid Koraïchi, and the young generation represented by Yasser Ameur, Walid Bouchouchi, or Souad Douibi, our objective is to question the connections between historic events and writing in artistic practices. At first, during the years which follow the independence and the will to become emancipated established colonial, as is set up a new "Algerian art", we observe a way of envisaging the writing, either as reactivation of the (national) past, that is as vector of Arabisation, as claiming of linguistic diversity, or as a quest of abstraction. It is then a question, for the period from 1988 to 2000, to examinate the peculiarities of a writing of exile and the naming the works abroad by insisting in particularly on the foreignness and the identity claiming with the Sufism. Finally, from 2000, a new artistic scene emerging in Algeria. As an object of transmission, writing in art is increasingly used in a global context leading to a moment when the circulation of artists and works changes of scale. This new connection to writing is envisaged in a comparative perspective with Morocco and Tunisia
Andrews, Allison Parker. "21st Century Zen Garden." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/757.
Full textZeren, Hakan. "Turkey toward the 21st century." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 1995. http://handle.dtic.mil/100.2/ADA302625.
Full textThesis advisor(s): Bertrand M. Patenaude, G. Robinson. "June 1995." Includes bibliographical references. Also available online.
Kirk, Christopher J. "Pigments for the 21st century." Thesis, Loughborough University, 2008. https://dspace.lboro.ac.uk/2134/12528.
Full textBitter, James. "Parenting for the 21st Century." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/6115.
Full textCharles, Nicholas. "Meliorism in the 21st Century." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1586687311049744.
Full textPettersson, Linus. "Ergotar : 21st Century Guitar Design." Thesis, Mittuniversitetet, Institutionen för design, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-36619.
Full textBenedict, Jason Brown. "Dyeing crystals : 19th century phenomenology to 21st century technology /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/8636.
Full textDarland, John, Heather Curtin, and Yoon Nam. "Online Education in the 21st Century." Universidad Peruana de Ciencias Aplicadas (UPC), 2018. http://hdl.handle.net/10757/623399.
Full textConferencia Internacional “Online Education in the 21st Century” por invitados de la Carrera de Psicología en auditorio del Campus Villa, con la participación de John Darland , Heather Curtin and Yoon Nam ; representantes de The Chicago School of Professional Psychology.
Rümelin, Sonja. "The cockpit for the 21st century." Diss., Ludwig-Maximilians-Universität München, 2014. http://nbn-resolving.de/urn:nbn:de:bvb:19-174280.
Full textDer Einsatz von interaktiven Oberflächen weitet sich mehr und mehr auf die unterschiedlichsten Lebensbereiche aus. Damit sind sie eine mögliche Ausprägung von Mark Weisers Vision der allgegenwärtigen Computer, die aus unserer direkten Wahrnehmung verschwinden. Bei einer Vielzahl von technischen Geräten des täglichen Lebens, wie Smartphones, Tablets oder interaktiven Tischen, sind berührungsempfindliche Oberflächen bereits heute in Benutzung. Schon seit vielen Jahren arbeiten Forscher an einer Weiterentwicklung der Technik, um ihre Vorteile auch in anderen Bereichen, wie beispielsweise der Interaktion zwischen Mensch und Automobil, nutzbar zu machen. Und das mit Erfolg: Interaktive Benutzeroberflächen werden mittlerweile serienmäßig in vielen Fahrzeugen eingesetzt. Der Einbau von immer größeren, in das Cockpit integrierten Touchscreens in Konzeptfahrzeuge zeigt, dass sich diese Entwicklung weiter in vollem Gange befindet. Interaktive Oberflächen ermöglichen das flexible Anzeigen von kontextsensitiven Inhalten und machen eine direkte Interaktion mit den Bildschirminhalten möglich. Auf diese Weise erfüllen sie die sich wandelnden Informations- und Interaktionsbedürfnisse in besonderem Maße. Beim Einsatz von Bedienschnittstellen im Fahrzeug ist die gefahrlose Benutzbarkeit während der Fahrt von besonderer Bedeutung. Insbesondere visuelle Ablenkung von der Fahraufgabe kann zu kritischen Situationen führen, wenn Primär- und Sekundäraufgaben mehr als die insgesamt verfügbare Aufmerksamkeit des Fahrers beanspruchen. Herkömmliche Touchscreens stellen dem Fahrer bisher lediglich eine flache Oberfläche bereit, die keinerlei haptische Rückmeldung bietet, weshalb deren Bedienung besonders viel visuelle Aufmerksamkeit erfordert. Verschiedene Ansätze ermöglichen dem Fahrer, direkte Touchinteraktion für einfache Aufgaben während der Fahrt zu nutzen. Außerhalb der Automobilindustrie, zum Beispiel für Büroarbeitsplätze, wurden bereits verschiedene Konzepte für eine komplexere Bedienung großer Bildschirme vorgestellt. Darüber hinaus führt der technologische Fortschritt zu neuen möglichen Ausprägungen interaktiver Oberflächen und erlaubt, diese beliebig zu formen. Für die nächste Generation von interaktiven Oberflächen im Fahrzeug wird vor allem an der Modifikation der Kategorien Größe und Form gearbeitet. Die Bedienschnittstelle wird nicht nur durch größere Bildschirme erweitert, sondern auch dadurch, dass Objekte wie Dekorleisten in die Interaktion einbezogen werden können. Andererseits heben aktuelle Technologieentwicklungen die Restriktion auf flache Oberflächen auf, so dass Touchscreens künftig ertastbare Strukturen aufweisen können. Diese Dissertation beschreibt die systematische Untersuchung großer und nicht-flacher interaktiver Oberflächen und analysiert ihr Potential für die Interaktion während der Fahrt. Dazu wurden für jede Charakteristik verschiedene Prototypen entwickelt und in Testumgebungen entsprechend ihres Reifegrads evaluiert. Auf diese Weise konnten subjektives Nutzerfeedback und objektive Daten erhoben, und die Effekte auf Fahr- und Blickverhalten sowie Nutzbarkeit untersucht werden. Diese Dissertation leistet den Beitrag einer Analyse der Entwicklung von interaktiven Oberflächen im Automobilbereich. Weiterhin werden die Aspekte Größe und Form untersucht, um mit ihrer Hilfe die Interaktion im Vergleich zu herkömmlichen Touchscreens zu verbessern. Die durchgeführten Studien belegen, dass große Flächen neue und verbesserte Bedienmöglichkeiten bieten können. Außerdem zeigt sich ein positiver Effekt auf die visuelle Ablenkung, wenn zusätzliches statisches, haptisches Feedback durch nicht-flache Oberflächen bereitgestellt wird. Zusammenfassend zeigen verschiedene, untereinander kombinierbare Interaktionskonzepte das Potential interaktiver Oberflächen für den automotiven Einsatz. Zudem können die Ergebnisse auch in anderen Bereichen Anwendung finden, in denen visuelle Aufmerksamkeit für andere Aufgaben benötigt wird.
Hui, Rosaline So-Chun. "Branding alliances in the 21st century." Thesis, University of Ulster, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394042.
Full textBrown, David E. 1975. "World dynamics in the 21st century." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/10197.
Full textTakano, Hidekazu 1960. "Japanese banks in the 21st century." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/9210.
Full textAlso available online at the DSpace at MIT website.
Includes bibliographical references (leaf 104).
Since the collapse of Japan's so called "bubble economy" in the early 1990s, Japanese banks have struggled to recover their former strength, facing an unprecedented amount of bad debts. Although major banks seem to have passed a toughest period in terms of bad debts, the new environment requires them to fight in more competitive markets, where foreign financial institutions and other new entrants are active. Recent announcements of large mergers show that Japanese banking industry is now in the middle of restructuring in order to survive in the face of tougher competition and to develop sustainable competitiveness. Their style in managing business is also changing by adopting U.S. model. This thesis studies the changing environment, which includes the change of economy, society, regulations, human resource etc. It examines the restructuring of banking industry in Japan, taking examples such as Mizuho Financial Group. Finally, I try to propose a direction which they should take toward the 21st century.
by Hidekazu Takano.
M.B.A.
Seitinger, Susanne 1978. "Spaces of innovation : 21st century technopoles." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/17707.
Full textPage 129 blank.
Includes bibliographical references (p. 121-128).
Public authorities and private developers around the world are attempting to create and sustain hubs within the innovation-based economy by fostering successful urban environments. These large-scale developments succeed an earlier generation of post-industrial "technopoles" named after the French word popularized by Castells and Hall in Technopoles of the World (1994). In the 1990s, most planned technopoles resembled suburban office environments with generous landscaping, wide roads, and automobile-focused circulation systems. In contrast, today's economic development experts are increasingly emphasizing the need for interaction and cross-fertilization among companies and institutions in an attempt to foster innovation, from which successful communities are assumed to derive their competitive edge in an information- based economy. Parallel shifts in live-work patterns among creative talent groups are being documented in social science and anecdotal observations. These trends have heightened competition for qualified individuals and initiated a talent war among cities globally. And these individuals are living footloose lifestyles supported by mobile devices and wireless connectivity. Entrepreneurial public agencies and private developers have recognized the potential for reconceiving live-work environments as economic hubs. These holistic projects are identified as 21st century technopoles because they directly address and capitalize on the socio-economic shifts described above leading to vastly different ideal urban configurations. The thesis asks how urban form is expected to contribute to innovation; and, how urban form is being reconceptualized in turn at the neighborhood scale.
(cont.) Four case studies provide a rich narrative that begins to sketch the range of proposed urban developments: Cyberjaya, Kuala Lumpur, Malaysia; Digital Media City, Seoul, Korea; one-north, Singapore; Lower Manhattan, New York. A narrative ties the four cases together providing "thick descriptions" as a base-line study for a new mode of technopole development. The analysis reaches from (1) "hardware" or the urban built environment and (2) "wiring" or the embedded and supported technologies to (3) "software" or the actors involved. The case studies indicate several emergent themes that are rescripting our urban environments. Dense urban zones with a high level of sensory diversity are being proposed for emerging technopoles that capitalize on the city as a metaphor for human interaction and exchange. Real estate value in this system is measured by the number of serendipitous encounters it facilitates. The dichotomous relationship between spaces of places and spaces of flows set forth by Castells seems inapplicable within the boundaries of these zones that are at once core and periphery, local and global. Finally, these developments are living laboratories for the technologies that support new live-work preferences and shifting lifestyles. Several contradictions become apparent in delving more deeply into the examples, which are still under development. In the promotional materials, diversity - demographic and physical - is embraced, but it is not clear how it will contribute to innovation. More generally, the projects plan for often unpredictable "knowledge accidents." ...
by Susanne Seitinger.
M.C.P.
Lockett, Lorenza. "Black propinquity in 21st century America." Diss., Kansas State University, 2015. http://hdl.handle.net/2097/20362.
Full textSchool of Family Studies and Human Services
Walter Schumm
Farrell J. Webb
There is considerable research on concepts of Blackness in America. Much of this research is conducted within a Eurocentric as opposed to an Afrocentric perspective. Social research has established that ideals, social norms, and values about Black minority groups may be shaped by dominant culture premises and that the dominant culture of any society can influence the attitudes, perceptions, and behaviors of minority group members coexisting within that culture. The White racial frame holds that over time a dominant cultural perspective in the U.S. has installed a positive orientation to “White” and whiteness and a strong negative orientation toward racial “others”, particularly toward Black Americans. The present research explores this phenomenon from an Afrocentric perspective, assessing propinquity preferences of non-native Immigrant and native-born American Blacks toward native-born Blacks. Utilizing data drawn from The National Survey on American Life 2001-2003 (Jackson, 2007) the study assessed the degree of Black propinquity (i.e., self-identified feelings of closeness and identity preferences with native-born Blacks) expressed within and between subsamples of native-born African American (n = 3,464) and non-native (chiefly Afro-Caribbean) Blacks (n = 1,118). More specifically, it hypothesized that native-born Blacks would display greater propinquity preferences than Immigrant Blacks for native-American Blacks depicted as more economically-challenged as well as socially affluent and elite; also, it expected they would report greater support for socially undesirable as well as socially desirable Blacks than would Immigrant Blacks. A series of hierarchical regression analyses modeled the unique and joint predictive variance of socio-demographic, socio-economic, and Black (derived) target characteristics within each Black subpopulation against the primary outcome variable (propinquity). Overall regression models for each Black group were highly similar in the proportion of explained variance (27% for native Blacks; 26% for Immigrant Blacks) and weighted contributions of three blocks of variables; derived variables for Black target characteristics contributed most of the total variance within each group. No statistically reliable differences for R score values were found between the two Black subpopulations on these derived variables. Findings are discussed in the context of the White racial frame perspective, secondary data methodology, and future research.
Poplavska, E. "21st century design: function. individuality. ecology." Thesis, National Aviation University, 2021. https://er.nau.edu.ua/handle/NAU/50745.
Full textInformation retrieval is an important component for a logical understanding of the meaning of the product, as well as its use in creating design and emotional impact on the buyer. Before creating any sketches, you need to understand the market of competitors on this topic and the target audience. Next, determine what impression the product should make on a person to want to buy the product? The product should be clear, because the buyer needs 15-60 seconds to determine the first, often basic, impression of interest or indifference to the product. Clear design is, graphically executed, answers to the first questions in a person's head. The information provided by the packaging design is parallel to the flow of ideas that are concretized in a single logical direction. It is important to give a person exactly what he needs - then the buyer's decision will be quick and confident, and the product will be remembered. Brand identity is a special identity of a specific product that is difficult to apply to any other packaging. You can use coloring, illustrations, original fonts or materials as a tool for attracting attention ... The point is that the product seems absolutely simple and easy to remember by its design. And this does not mean that everything is really simple, the complexity of the design is to create a unique design, looking at which you will understand how simple and logical it is for this product, so it is irrelevant to use for anything else. It is important that the first impression of the product is a fully harmonious picture, reflected in a single style. In the design of a unique package there should be a scheme, a plan, or a perfect reconstruction of the structures of the composition - this is when the package states everything and almost nothing. Focusing on the important internal components of the design, it is necessary to mention the actual affiliation of the design to the product within the present. The goal: to create a product that will reveal its individuality in the 21st century and the probability of being at the current pace in 20 years. An effective way to incorporate design into the present is to use fashion trends and tendencies, such as smart design elements such as QR codes. How to leave all the necessary information on the package, and illustrate the additional message with a QR-code to go to the site for a more detailed acquaintance with the product.
Пошук інформації є важливою складовою для логічного розуміння значення товару, а також його використання при створенні дизайну та емоційного впливу на покупця. Перш ніж створювати будь-які ескізи, потрібно зрозуміти ринок конкурентів на цю тему та цільову аудиторію. Далі визначте, яке враження товар повинен справити на людину, яка бажає придбати товар? Товар повинен бути чітким, оскільки покупцеві потрібно 15-60 секунд, щоб визначити перше, часто основне, враження про інтерес чи байдужість до товару. Чіткий дизайн - це графічне виконання, відповіді на перші питання в голові людини. Інформація, надана дизайном упаковки, паралельна потоку ідей, які конкретизуються в єдиному логічному напрямку. Важливо дати людині саме те, що йому потрібно - тоді рішення покупця буде швидким і впевненим, а товар запам’ятається. Ідентичність бренду - це особлива ідентичність конкретного товару, яку важко застосувати до будь-якої іншої упаковки. Ви можете використовувати забарвлення, ілюстрації, оригінальні шрифти або матеріали як інструмент для привернення уваги ... Справа в тому, що товар здається абсолютно простим і легко запам’ятовується своїм дизайном. І це не означає, що все насправді просто, складність дизайну полягає в створенні унікального дизайну, дивлячись на який ви зрозумієте, наскільки це просто і логічно для цього продукту, тому використовувати для чогось іншого нецільно. Важливо, щоб перше враження від товару було повністю гармонійним, відображеним в єдиному стилі. У дизайні унікальної упаковки повинна бути схема, план або досконала реконструкція конструкцій композиції - це коли в упаковці зазначено все і майже нічого. Зосереджуючись на важливих внутрішніх компонентах дизайну, необхідно згадати фактичну приналежність дизайну до виробу в межах сьогодення. Мета: створити продукт, який виявить його індивідуальність у 21 столітті та ймовірність досягнення нинішніх темпів через 20 років. Ефективним способом включити дизайн у сьогодення є використання модних тенденцій та тенденцій, таких як розумні елементи дизайну, такі як QR-коди. Як залишити всю необхідну інформацію на упаковці, а додаткове повідомлення проілюструвати QR-кодом для переходу на сайт для більш детального ознайомлення з товаром.
Cimenukha, Victor Alekseevich, and Віктор Олексійович Cименуха. "The Muslim brotherhood in 21st century." Thesis, National Aviation University, 2021. https://er.nau.edu.ua/handle/NAU/51666.
Full textFollowing the French expedition to Egypt in 1798 the centuries old distribution of power in the middle east was turned upside down. As European supremacy grew a group of Egyptian intellectuals banded together and formed a reactionary movement called “The Muslim Brotherhood”. They aimed to reform society without surrendering religious customs and what ensued was an intellectual battle for national identity that quickly transformed into an armed resistance. The Muslim Brotherhood, founded in 1928 by Hassan al-Banna, is the world’s most influential Islamist organization. The mission of the Brotherhood is to Islamize society by promoting religious laws, values and morals. To achieve this goal, it has long combined preaching and political activism with social welfare. The group gained legitimacy among its main constituency, the lower middle class, as the most effective organized resistance against the British occupation of Egypt (1882–1952). The Muslim Brotherhood allied itself with the Free Officers, nationalist military leaders who sought to snatch Egypt into a British-backed monarchy. After the coup that forced King Farouk to lose power in July 1952, the Military Junta, which took over the leadership and the Brotherhood, became rivals. This conflict revolved around power and ideology; The Brotherhood rejected the vision of the Egyptian military as the leader of the socialist, secular, pan-Arab movement. In 1954, a suspected member of the Brotherhood attempted to assassinate Free Officer leader Gamal Abdel Nasser. In response, thousands of suspected brothers were imprisoned.Although Nasser banned the group from governing, the Brotherhood nevertheless became ubiquitous in society, building allegiance as a populist alternative to the Egyptian state, which provided neither prosperity nor prosperity and suffered repeated military defeats by Israel.
Після французької експедиції до Єгипту в 1798 році багатовіковий розподіл сил на Близькому Сході було перевернуто з ніг на голову. У міру зростання європейської переваги , група єгипетських інтелектуалів об'єдналася і сформувала реакційний рух під назвою "Брати-мусульмани". Вони прагнули реформувати суспільство, не відступаючи від релігійних звичаїв, і в результаті виникла інтелектуальна боротьба за національну ідентичність, яка швидко переросла в збройний опір. Брати-мусульмани ", засновані в 1928 році Хасаном аль-Банної, є найвпливовішою ісламістської організацією в світі. Місія" Братства "полягає в ісламізації суспільства шляхом просування релігійних законів, цінностей і моралі. Для досягнення цієї мети воно довгий час поєднувало проповідницьку і політичну діяльність з соціальним забезпеченням. Група придбала легітимність серед свого основного електорату, нижчого середнього класу, як найбільш ефективна організація опору британської окупації Єгипту (1882-1952). Брати-мусульмани вступили в союз з Вільними офіцерами, націоналістичними військовими лідерами, які прагнули повернути Єгипет в підтримувану Великобританією монархію. Після перевороту, в результаті якого король Фарук втратив владу в липні 1952 року народження, Військова хунта, яка взяла на себе керівництво країною, і "Брати-мусульмани" стали суперниками. Цей конфлікт обертався навколо влади і ідеології; Братство відкидало бачення єгипетських військових як лідер асоціалістичного, світського, панарабского руху. У 1954 році підозрюваний член Братства спробував вбити лідера Вільних офіцерів Гамаля Абдель Насера. У відповідь тисячі підозрюваних братів були увикрадені в тюрьму.Хоча Насер заборонив групі управляти державою, Братство стало всюдисущим в суспільстві, формуючи лояльність як популістська альтернатива єгипетській державі, яке не забезпечувала ні процвітання, ні благополуччя і терпіла неодноразові військові поразки від Ізраїлю.
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