Dissertations / Theses on the topic 'Colonies in art'
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Essen, Jennifer Michelle. "A world elsewhere : art colonies in California and New Mexico, 1900-1940." Thesis, King's College London (University of London), 2016. https://kclpure.kcl.ac.uk/portal/en/theses/a-world-elsewhere(e126f861-bef3-44af-a837-345645411be0).html.
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This thesis analyses the distinct form of art colony that flourished in Carmel, California and Santa Fe and Taos, New Mexico, in the opening decades of the twentieth century. The diversity of people, experience and colony-produced art has largely discouraged analysis of western colonies as a group. My argument in this thesis is that new interpretive frameworks are needed to understand the defining and shared qualities of these colonies. Identifying patterns in seemingly disparate practices reveals the kind of colony this was, its features, its appeal and its influence on the artistic work of participants. I begin by charting the art colony tradition as it unfolded in the US and tracing the western art colony’s development out of this established model. Despite shared styles of sociality and retreat from urban America, the western art colony differed from its predecessors in its greater remoteness, particular style of community and opportunities for contact with Native and Spanish-speaking populations. In this they build on an established rhetoric of romantic otherness in these regions. Successive chapters explicate my definition of these colonies as networks of temporary association. Chapter Two explores the ways in which the colony’s community balanced a sense of belonging with opportunities for multi-directional movements, allowing art-colonists to control their engagement with the colony milieu. In Chapter Three I focus on Anglo-American art-colonists’ interactions with Native and Spanish-speaking peoples, specifically their formally experimental but problematic attempts to comprehend cultural difference. Chapter Four moves from intercultural to interpersonal interactions by exploring how these art colonies generated an arena for negotiating the intersections between gender and artistic autonomy. As improvisatory spaces these art colonies accommodated and even thrived on diversity and mutability. This thesis recovers western art colonies as important examples of collaborative artistic endeavour.
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Fonteneau, Estelle. "Marianne Preindlsberger Stokes : les années de formation." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040193.
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Cette thèse dépeint le contexte artistique dans lequel Marianne Stokes évolue des années 1880 au tournant du siècle suivant. Une étude approfondie a été menée, qui permet de retracer ses premières années d’études d’art à Munich et à Paris, puis au sein de plusieurs colonies d’artistes en France, au Danemark et en Angleterre. Afin de restituer le milieu créatif de Marianne Stokes, des textes et des manuels d’histoire de l’art ancien et actuel furent étudiés. D’autres recherches furent entreprises, appuyées sur la correspondance d’artistes camarades de Marianne Stokes, et sur l’étude de leur accueil critique en France et en Angleterre. Des publications de l’époque sont au centre de ces recherches : autobiographie, narration de voyage, et correspondance. Cette thèse comprend aussi des études comparatives de toiles de Mariannes Stokes avec celles de plusieurs de ses contemporains.Nous cherchons à démontrer que l’art de Marianne Stokes est difficilement réductible à un mouvement artistique en particulier, mais présente les qualités de nombreux styles : naturalisme, impressionnisme, symbolisme, décoratif. Evoluant parmi ces nombreux courants artistiques, l’art de Marianne Stokes possède un certain silence, un sentiment de piété qui est la ligne directrice de son œuvreThis dissertation recreates the evolution of Marianne Stokes’ art within the context of her artistic milieu from 1880 to the turn of the century. These studies concern first her early school years in Munich and Paris, and then her years among artist colonies in France, Denmark and England. Stokes’ paintings are compared to those of her contemporaries within the artist colonies. Contemporary texts, such as travel journals, biographies, letters and press articles, are used to accurately reconstruct the artist’s milieu. This thesis demonstrates that Marianne Stokes’ body of work cannot be reduced to a specific artistic movement; instead, the style of her paintings ranges from naturalist, decorative, and impressionist to symbolist. Nevertheless, the paintings of Marianne Stokes maintain one distinctive trait; they express a certain silence, an articulation of the artist’s personal piety
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Gollannek, Eric Frederick. ""Empire follows art" exchange and the sensory worlds of Empire in Britain and its colonies, 1740-1775 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 427 p, 2008. http://proquest.umi.com/pqdweb?did=1625773591&sid=9&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Laillou, Yves. "Arts et indigènes et colonisation au Maroc, à Madagascar et en Indochine : de la création de l'Office des arts indigènes en 1916 à l'Exposition coloniale de 1931." Bordeaux 3, 2004. http://www.theses.fr/2004BOR30055.
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L'apaisement qu'apportent les années permet l'ouverture de dossiers nouveaux , comme celui des arts indigènes confrontés à la colonisation. Leur étude a été limitée à trois pays très différents , le Maroc , L'Indochine et Madagascar, qui étaient administrés selon la doctrine commune du protectorat. La création , originale dans tout le monde colonial, en 1916 à Rabat , de l'Office des Arts Indigènes en est le point de départ. Il avait pour but le recensement et la restauration du patrimoine architectural , la promotion de l'art et de l'artisanat. Cette initiative allait-elle être féconde, permettre l'épanouissement de l'art existant , l'éclosion d'un art indigène spécifique?Agirait-elle sur les métiers d'art ou bien entrainerait-elle leur perte en les inféodant à ceux des colonisateurs? L'exposition de Vincennes en 1931, apogée de la colonisation, témoin de la création du musée des colonies en est le terme. Un historique de la colonisation , du mode d'enseignement général et artistique , de la création des écoles d'art appliqué , des Beaux-Arts et des musées est envisagée dans les trois états. Les résultats sont relevés dans les principales expositions , les deux du Maroc en 1917 et 1919 , celle de Marseille en 1922, les Arts Décoratifs en 1925 , Vincennes en 1931. La synthèse met en évidence , l'avènement puis l'émancipation d'un art pictural identitaire surtout à Madagascar et en Indochine. Les métiers d'art émanations d'un savoir-faire transmis de père en fils ont été revigorés , mais peu modifiés dans leurs modèles et leur réalisation. Un art indigène est apparu que la décolonisation devait conforter. Il constitue un lien entre les colonisateurs et les colonisésTime brings conciliation, making it possible to tackle new issues, such as the role of indigenous arts in colonised nations. Study of them was confined to three very different countries, Morocco, Indochina and Madagascar, which were administered according to the common doctrine of protectorate. The setting up in Rabat in 1916 of the Indigenous Arts Agency - a first in the entire colonial world - was the starting point for this. Its aim was to inventory and restore architectural heritage and to promote art and craftsmanship. Would this initiative prove fruitful and enable existing art to flourish and give birth to specific indigenous art? Would it have a positive effect on arts and crafts or lead to their disappearance by making them subservient to those of the colonisers? The Vincennes exhibition in 1931, the high point of colonisation and witness to the creation of the colonies' museum, marked the culmination of this. A history of colonisation, of general and artistic teaching, of the creation of schools of applied art, and of fine art galleries and museums was planned in the three countries. The results can be traced in the main exhibitions: the two in Morocco in 1917 and 1919, the Decorative Arts exhibition in 1925, and Vincennes in 1931. Analysis demonstrates the emergence and then emancipation of a distinctive style of painting, especially in Madagascar and Indochina. Arts and crafts, products of know-how handed down from father to son, were invigorated, but little changed in their design and execution. An indigenous art appeared which decolonisation had to support. It forms a link between the colonisers and colonised
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Marçot, Jean-Louis. "La belle utopie : la France, son avant-garde et l'Algérie (1830-1848)." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0401.
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L'Algérie française - c'est-à-dire l'annexion d'une partie de l'Afrique et sa francisation par implantation massive d'une population européenne-, relève d'un projet colonial nouveau. Ce projet, dont l'expédition d'Egypte sous le Directoire a posé les jalons, n'a pu se réaliser sans une dimension sociale que seul le socialisme, alors naissant, était capable de lui apporter. La thèse analyse cet apport, reconstitue jusqu'en 1848 l'histoire de ce premier socialisme et de ses diverses composantes, dans le contexte d'une "question algérienne" étudiée pas à pasFrench Algeria - that is to say the annexation of part of Africa and its Gallicization by means of massive settlings of european population -, is the result of a new colonial project. This project, for which the Egyptian Expedition under the directoire have paved the way, could not achieved without a social dimension that only the springing up socialism was able to give it. The thesis analyzes this contribution, reconstruct until 1848 the hizstory of this (first) socialism and its diverse components in the light of the "Algerian question" studied step by step
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Girard, Max. ""La Grande Emotion". La mise en scène des missions chrétiennes dans les expositions coloniales et universelles : France - Belgique. 1897 - 1958." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE3010.
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La France et la Belgique organisent plusieurs expositions coloniales internationales et universelles de la fin du XIXe siècle à 1958. Ces deux puissances coloniales y développent une propagande multiforme pour justifier leurs « missions civilisatrices ». Les missionnaires catholiques et protestants participent à ces grandes fêtes. La consultation d’archives des congrégations religieuses (Spiritains, Jésuites…), de l’œuvre de la Propagation de la Foi, de fonds publics français, belges, suédois et du Saint-Siège permet de comprendre comment s’organisent les missionnaires pour participer à ces expositions en France et en Belgique. De l’exposition de 1897 (Tervuren) à celles de 1935 et 1958 (Bruxelles), en passant par Paris 1900, 1931 et 1937, les missionnaires s’exposent dans des pavillons qui s’agrandissent pour devenir de véritables complexes architecturaux. Les vecteurs de la mise en scène changent et s’adaptent : les objets « indigènes » sont délaissés au profit de dioramas, de statistiques stylisées et de cartes lumineuses. L’architecture du pavillon est en elle-même un discours comme le prouve le pavillon des missions catholiques de 1931. A travers ces évolutions de la mise en scène, ce sont des changements dans les représentations missionnaires du monde qui s’observent : les colonisés et leurs cultures sont de plus en plus valorisés et le lien avec la colonisation moins affirméFrance and Belgium organised several international and colonial exhibitions, as well as universal exhibitions or World Fairs, from the end of the 20th century to 1958. Through these world exhibitions, these two great colonial powers developed various forms of propaganda to account for their “civilizing missions”. Protestant and catholic missionaries took part in those great celebrations. By reading and working on archives of religious congregations such as the congregation of the Holy Spirit, The Jesuit, and the oeuvre de la Propagation de la Foi, but also the French, Belgian and Swedish national archives and the Holy Sea archives, I was able to understand how the missionaries organized themselves to take part in those exhibitions in France and Belgium. The missionaries organised exhibitions in ever growing pavilions which would become huge architectural complexes, from the 1897 exhibition (taking place in Tervuren) to the 1935 and 1958 exhibitions (taking place in Brussels), not forgetting the 1900, 1931 and 1937 Paris exhibitions. The way missionaries staged their work changed and evolved. Indeed, “indigenous” artifacts were gradually less displayed and missionaries used dioramas, stylish statistics and lit-up maps instead. The architecture of the pavilion was in itself telling, a good example of this being the 1931 pavilion of the Catholic missions. The way missionaries staged their exhibitions reflected the changes in their worldview. The colonized populations and their cultures were more and more emphasized, while the link with the colonization was less and less asserted and straightforward
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Peña, Plaza Carlos. "L'image dans l'image : rhétorique visuelle d'une culture mondialisée : essai d'atlas des représentations ibéro-américaines, XVIe -XVIIIe siècles." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0025.
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A partir d'une répertoire d'images provenant du monde ibéro-américain, la thèse développe un étude typologique et morphologique de la rhétorique visuelle de ces représentations d'une culture mondialisée. Le travail consiste en un articulation des analyses micro-historiques et macro-historiques qui permet d'éclairer les rapports entre le local et le global et la fonction mnémonique des images. L'approche sémiotique , iconologique et aussi anthropologique cherche à montrer les diverses modalités de transformation des images et le métissage visuel ou hybridation iconique dans leur passage de l'Europe à l'Amérique. Le travail de catégorisation et indexation par mots clés a permis d'identifier une série de dispositifs visuels d'encadrement de l'image dans l'image et une série de métaphores et symboles associés au rituel eucharistique. Le montage d'images et la configuration d'Atlas est l'instrument utilisé afin de visualiser les résultats de la recherche conformément aux oppositions structurelles de base identifiées dans le travail de classificationThrough the study of a collection of images from the ibero-american world the thesis develops a typological and morphological study of the visual rhetoric of one of the first globalized cultures. The task consists of an articulation between the micro-historical and the macro-historical analysis, that allows to enlighten the connections between global and local, anc observe the commemorative function of those représentations of the colonial past. The approach is semiotic and iconological , but it is also anthropological. It tries to portray the diverse modalities of transformation of the images and their visual cross-breeding or hybridization in their passage from one continent to the other. The categorization and indexatioi with keywords allowed to identify certain visual framing devices of an image within the image and a séries of metaphors and symbols associated with the Eucharistie ritual. The Atlas configuration ,was the instrument used for the visualization of the results according to the basic structural oppositions identified during the process of classification
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Edmondson, Belinda J. "Making men : gender, literary authority, and women's writing in Caribbean narrative /." Durham [N.C.] : Duke university press, 1999. http://catalogue.bnf.fr/ark:/12148/cb37623506z.
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Geddy, Pamela McLellan. "Cosmo Alexander: His Travels and Patronage in America." VCU Scholars Compass, 2000. http://scholarscompass.vcu.edu/etd_retro/88.
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Relatively little is known of European artists who worked for short periods of time in the American Colonies during the eighteenth century. Perhaps Cosmo Alexander was typical of other artists who came to America seeking greater opportunity than in their homeland, only to leave several years later, perhaps disillusioned and no wealthier. Artists who are better known stayed in America long enough to build up clientele in a broad area and produced enough works to have many survive long enough to be documented by later sources. As the subjects in many of Alexander's portraits show, there was a large prosperous middle-class patronage of the art of portraiture. Considering the social conventions of the time, personal references and letters of recommendation would have facilitated travel and introduction to prospective clients. The emphasis of this research is the patronage which Cosmo Alexander found in the American Colonies as evidenced by portraits executed between 1765 and 1771. Family connections, Scottish ancestry and communities having large Scottish populations have played a part in determining probable routes. In 1961 Gavin L. M. Goodfellow submitted a thesis to Oberlin College on Cosmo Alexander. This was the first and (to date) the only extensive monograph on the artist. The thesis was general in nature, covering Alexander's life and listing all paintings known at that time, only sixteen of which were believed to have been painted in America. Because he dealt in detail with Alexander's total biography and stylistic characteristics, only one chapter was devoted to American works. Since Goodfellow's research the number of American paintings signed by or attributed to Alexander has increased from sixteen to twenty-six. With greater documentary evidence available, patterns can be established and generalizations made which possibly are typical of other artists in similar circumstances.
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Collins, Megan Marie. "The Portrait of Citizen Jean-Baptiste Belley, Ex-Representative of the Colonies by Anne-Louis Girodet Trioson: Hybridity, History Painting, and the Grand Tour." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1237.pdf.
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Hayward, Rebecca K. "Resource distribution in ant colonies." Thesis, University of Bath, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527789.
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The distribution of resources is vital to any system or society. This is particularly true of social insect colonies where independent access to resources is not available to all members. Only a fraction of individuals are responsible for obtaining food for the colony from outside the nest. Surprisingly little is known about how this food is subsequently distributed to members inside the nest. The work in this thesis is focused around a set of food distribution experiments conducted using four colonies of the ant Temnothorax albipennis. The study applies a well-used technique in a new way to investigate the distribution of food under two different scenarios: feeding under normal conditions and famine relief feeding after a period of starvation. All ants in each colony are marked and then individually tracked recording every feeding interaction to obtain a complete network of food transmission. This work has shown that all four colonies efficiently relieved the famine within 30 minutes of introducing new food. This process was facilitated by workers abandoning their spatial structure and expanding their space use; feeding multiple recipients from a single donor; and simultaneously spreading stored food and new food. Recruitment of foragers did not play a major role in relieving the famine but foragers were responsible for most of the first round of feeding. The study revealed that not all members received the same amount of food and most ants received food in multiple feeding interactions. The transmission pathways used to distribute the food present an opportunity for harmful substances to spread. The pathways are explored in this context to see whether the colonies might aim to minimize the spread by partitioning the pathways or maximise spread by mixing to promote social immunity. The study reveals behavioural differences between the four colonies which are likely to result from the inherent variation in demographic and geometric properties. These differences highlight the flexibility of ant colonies during problem solving under different conditions.
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Buchet, Christian. "La lutte pour l’espace caraïbe et la façade atlantique de l’Amérique centrale et du sud entre 1672 et 1763." Paris 4, 1990. http://www.theses.fr/1989PA040097.
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Cette étude sur les expéditions géostratégiques se divise en deux parties: la première est une réflexion sur les tactiques et, même plus globalement, sur les stratégies employées par les différents protagonistes, principalement l’Angleterre et la France. Pour ce faire parallèlement a une présentation chronologique de chacune des expéditions- nous avons cherché à analyser les facteurs ayant abouti au succès ou à l’échec de chacune d’elles (14 chapitres). A partir de cette réflexion sur les facteurs généraux, une seconde partie traite de trois aspects qui, au vu de l’analyse initiale, nous semblent avoir joué un rôle plus particulièrement déterminant, à savoir : *les caractéristiques des bâtiments de guerre envoyés afin de mieux mesurer leurs incidences sur les résultats précédemment dégages (2 chapitres : comparaison franco-britannique). *les problèmes sanitaires (2 chapitres) ( un premier chapitre quantifie à partir des rôles d’équipages les pertes de deux escadres de manière exhaustive. Un second chapitre analyse les facteurs étiologiques conditionnant dans le domaine sanitaire les pertes humaines). *la logistique des vivres (respectivement 4 et 5 chapitres consacrés aux logistiques anglaises et françaises)The following study on geo-strategic expeditions falls into two parts: the first one deals with the tactics and strategies used by the various protagonists mainly England and France. In this part, we have a chronological presentation of each of the expeditions and an analysis of the factors leading to the success or the failure of each of them (14 chapters ). As to the second part it deals with three aspects which, according to the first analysis, seem to have played a most deciding role: *the characteristics of the war ships that were sent in order to gauge their effects according to the results previously obtained ( 2 chapters ) *the sanitary problems (2 chapters). (The first chapter quantifies from the ships muster and pay books the losses of two squadrons. The second chapter analyses the factors conditioning losses in the sanitary field). *the logistics of the supplies (9 chapters - England and France)
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Tarar, Nadeem Omar Art College of Fine Arts UNSW. "Colonial governance and art education in colonial Punjab c1849-1920s." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/44097.
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This dissertation examines the connection between colonial governance and art education in colonial Punjab after its annexation by the British in 1849. It argues that art education at the Mayo School of Art was part of large project for creating a disciplinary society. It draws largely on archival and printed primary sources for tracing the career of disciplinary technologies of art schools, museums, exhibitions as well as regulatory discourses of colonial anthropology and the folklore, that together constitute colonial sphere of art education. The archives entered the present study both as the source of information as well as the technology of the colonial rule. The disciplinary discourses of the colonial state formed the primary archive for the colonial construction and ranking of indigenous population on the evolutionary scale of "primitive" through the techniques of census and surveys. The ethnological, psychological and intellectual profile of "tribal" population of Punjab along the scale of evolutionary history provided a grid to structure empirical knowledge for vast scale social engineering of indigenous society, including the organization of a system of colonial education for "pre-literate" and "oral" society. The study specifically contends that boundaries between "oral" and "literate" were the folklorist prisms through which the practices of communities and institutions of "art" and "craft", the distinctions between, "primitive" and "modem", "artists" and "craftsmen", "traditional" and "creative", "anonymous" and "individuals", "literature" and "myth", "history" and "legend", and "knowledge" and "folklore" were articulated. The historical contingencies of naturalization of these binary oppositions will be read in the ethnographic project of the colonial state and art educational discourses in the late nineteenth and early twentieth century Punjab that transformed individuals and social groups into subjects of a particular kind of power through the techniques of discipline and regulation. The institutional career of the Mayo School of Art (from 1875 to 1920s) as a technical as well as an educational institution is located at the intersection of discourses on utility and aesthetics. Through the writings of key exponents of the British craft advocates in India and the administrative discourses of the colonial state in Punjab that had brought the study of "decorative arts" to the forefront of the imperial concerns as well as art pedagogy, the dissertation analyzes the implications of the art school instruction on the production of modern artists and craftsmen and the construction of "customary" sphere and "traditional" Punjabi art and craft.
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Green, Geffrey Corbett. "Walter Spies, tourist art and Balinese art in inter-war colonial Bali." Thesis, Sheffield Hallam University, 2002. http://shura.shu.ac.uk/9167/.
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This is an art historical study informed by post-colonial perspectives which critically examines the discourse concerning the role and the work of the artist Walter Spies in relation to Bali, Balinese art and the Balinese in the inter-war Dutch Colonial period. Drawing from a wide variety of sources, the thesis examines the development and characteristics of a new artistic form in the area of painting, variously described as 'Balinese Modernism', 'New Balinese painting' or 'Tourist art'. I also investigate the origins and the perpetuation of the popular myth regarding the perceived role of Walter Spies as the instigator of this art. Through examining his cultural position in relation to the Balinese, I examine Spies' role as a colonial figure and as a 'servant' of colonial cultural policy. This post-colonial examination takes into account the broader historical, political, cultural and economic realities of colonial Bali at that time. I deal with theoretical and methodological issues some of which make such a study problematic. In particular, how to deal with the 'subaltern' in historical discourse and the dangers of either essentialising the 'Other' or diminishing hegemonic imperial processes through a cultural relativism which seeks to value the importance of the 'subaltern' voice. In addition to this, the problematic and sometimes misleading use of biography is also investigated. I have synthesised a number of concepts to develop my post-colonial approach, based around the ideas of contact, contact languages and influence. These are used to explain the development of new artistic forms, as well as the discourse and processes which both moulded and reflected them. The study contributes to knowledge through the fresh analysis of the discourse of 'texts' and parts of 'texts' not previously used or explored in a postcolonial theoretical framework. Interviews with Balinese artists and the correspondence of Spies are deconstructed, as well as the films and paintings of Spies which are analysed as colonial discourse rather than as isolated aesthetic products. This project provides a new critique of the creation and perpetuation of colonial discourse through biography and imagery which I propose has much broader implications in the 'post-colonial' world.
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McFadden, Ryan K. "Improving emergency management by modeling ant colonies." Thesis, Monterey, California: Naval Postgraduate School, 2015. http://hdl.handle.net/10945/45223.
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Approved for public release; distribution is unlimitedThe focus of this thesis is to identify whether emergency management can be modeled after ant colonies, perfectly emergent organizations, in order to better manage an autonomous response. An ant colony uses a dense and resilient communications system that incorporates a positive feedback loop, which allows the organization to be adaptable. Currently, emergency management organizations are experimenting with social media to establish a communications system similar to the positive feedback loop used by ant colonies. This thesis advocates that following a disaster, an emergency management organization gather information from the public through an Internet survey. The survey would be quickly processed and provide critically needed information.
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Akorli, Maxwell Kwabena. "Avoidance Behavior in Temnothorax Regatulus Ant Colonies." Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/318816.
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Sieger, Pascal. "Imaginer une autre vie ensemble : ethnographie des communautés d'arts contemporains à Bangalore." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0066.
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Bangalore, principalement connue pour ses industries de pointe, est aussi l’une des villes les plus actives dans le domaine des arts contemporains en Inde. La cité dans laquelle de nombreux artistes se sont installés à partir des années 1990 est le berceau de nombreuses expériences originales dans le monde de l’art, tant d’un point de vue esthétique que social et politique. Basée sur une ethnographie auprès de communautés d’artistes dans le domaine des arts performatifs, visuels et de la littérature, cette recherche examine non seulement les formes d’organisation de leurs espaces de création, mais aussi les valeurs et les idéaux qui sont élaborés par des artistes ayant pour objectif le changement social ou la résistance politique. La première partie de cette thèse analyse la construction du récit qui fait de Bangalore une ville du futur, une métropole cosmopolite, symbole de la modernité et de la créativité. La seconde partie examine les espaces dédiés aux arts contemporains ainsi que les motivations de leurs fondateurs. Elle met à jour l’imagination politique et les valeurs humanistes qui sont à l’origine du désir de créer des communautés. Le cosmopolitisme apparaît ainsi comme un idéal des résidences d’artistes observées, où l’expérience sociale et politique est aussi importante que le projet artistique. La dernière partie s’intéresse aux situations de coexistence des artistes en résidence. À l’aide de concepts provenant autant des sciences sociales que de l’art, elle analyse la mise en oeuvre d’un « vivre ensemble » autre. Les frontières entre l’art et l’anthropologie s’estompent et une passerelle est jetée entre les deux disciplines invitant à une anthropologie poétique ou une poétique de l’anthropologieMainly known for its high-tech industries, Bangalore is also one of the most vibrant cities of India in the field of contemporary arts. The town where many artists have settled since the 1990s is the cradle of many original experiences in the world of art, from an aesthetic as well as social and political point of view. Based on an ethnography of artists' communities in the performing arts, visual arts and literature, this research examines not only the forms of organization of their creative spaces, but also the values and ideals that are developed by artists whose goal is social change or political resistance.The first part of this thesis analyses the construction of the narrative making from Bangalore the city of the future, a cosmopolitan metropolis, symbol of modernity and creativity. The second part examines spaces dedicated to contemporary arts as well as the motivations of their founders. It shows the political imagination and humanistic values that are behind the desire to create communities. Cosmopolitanism thus appears as an ideal of the residences of artists observed, where the social and political experience is as important as the artistic project. The last part focuses on situations of coexistence of artists in residence. Using concepts from both social sciences and arts, it analyses the implementation of a different way of "living together”. The boundaries between art and anthropology fade and a bridge is build between the two disciplines inviting to a poetic anthropology or poetics of anthropology
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Borooah, Vidya. "Implementation across national boundaries : implementing the Government of India Act, 1935." n.p, 1986. http://ethos.bl.uk/.
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Langridge, Elizabeth Ann. "The effects of experience on complete ant colonies." Thesis, University of Bristol, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425146.
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Veloupoulé, Aurélie. "Les mouvements de la "Réforme de la Vie" au contact de la culture et des traditions corporelles indiennes." Thesis, La Réunion, 2017. http://www.theses.fr/2017LARE0043.
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Dès la fin du XIXe siècle, la Lebensreform (« réforme de vie ») recouvre trois aspects qui sont la modernité (ère industrielle), la crise des valeurs et l'émergence de nouvelles pratiques artistiques, culturelles et sociales dans les pays de l'espace germanophone. La Lebensreform est une réponse aux ruptures de la modernité ; de nouvelles formes de vie collectives voient le jour. Les espaces d'accueil fondent leur propre mode de vie autour du programme d'une réconciliation avec la nature, en adoptant plusieurs réformes de la vie. Parallèlement, l'Inde artistique et spirituelle évolue et influence l'art moderne occidental, d'où l'apparition de passerelles transculturelles. Les artistes de la Lebensreform adoptent de nouveaux modes d'expression corporelle qui s'inspirent de l'art indien (mudrâs, rythme, etc.). Il s'agit dans notre thèse d'aborder l' « esthétique du performatif » ; l’art de la danse moderne devient un mode de communication à part entière, c'est-à-dire un langage non verbal, traité sous l'angle du concept de performatif. L'art moderne, qui se développe dans l'espace germanophone, conduit à une nouvelle quête, celle d'une recherche de sa propre identité à travers l'exploration du mouvementFrom the end of the 19th century, the Lebensreform (Life reform) covers three aspects which are modernity (industrial era), crisis in values, and the emergence of new artistic, cultural and social practices in German-speaking countries. The Lebensreform is a response to the break with modernity; new collective lifestyles are born. Hosting places build their own lifestyle around a program of renewals and reconciliation with nature, adopting several reforms of life. At the same time, artistic and spriritual India evolved and influenced modern Western art from whence grew cross-cultural gateways and bridges. Artists from the Lebensreform adopted new corporal forms of expression inspired by Indian art (mudrâs, rythm, etc.). This thesis concerns itself with the « esthetic performative » with the knowledge that the art of modern dancing, viewed from the angle of the performative concept, may be said to have emerged as a global mode of communication, and a non verbal language. Modern art as developed in German-speaking community has also led to a new quest, a search for our own identity through an exploratory movement
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이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.
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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West.
In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.published_or_final_version
Fine Arts
Master
Master of Philosophy
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Ma, So Mui. "Post-colonial identities and art education in Hong Kong." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/10007431/.
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This thesis is an inquiry into art educators and art curricula within the context of the reunification of Hong Kong and China. Theoretically it draws specifically on post-colonial theories. Additionally, issues of personal identities and aesthetic preferences were examined by means of questionnaires given to pre-service art teachers. The design of the instruments was inspired by 'border pedagogy' and 'critical theory', as outlined by Henry Giroux (Giroux, 2005: 24). Reflections on the research design were offered. The thesis seeks to uncover the impact of colonialism and post-colonialism on art education and on participants' perceptions of their own identities. This includes participants' reflections on cultural and gender stereotypes; their responses to conceptions associated with modernist, postmodernist and feminist art; and the impact of modernist progressive thought on their values towards contemporary and traditional life-styles. The impact of colonialism on art curricula in Hong Kong schools prior to 1997 was investigated through analysis of historic documents and archives. Perceptions of participants of their prior art training were also examined. An overview ofliterature related to Art and culture; post-colonial and identity theories were discussed at the outset. Literature related to the relevant data was analysed qualitatively to provide additional insights. The results suggest that post-colonial Hong Kong continues III the colonial condition with the persistence of Western influences on art education. With the shift to China, the subordination of Hong Kong identity remains, and established stereotypes were still evident amongst participants. However the growing influence of globalisation has increased the complexity of the hybrid, East-West Hong Kong identity. Implications and recommendations suggest ways forward for visual arts education in Hong Kong.
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Reeder, Jane Clark. "Agyieus and baluster, aniconic monuments in Roman art /." Providence (R.I.) : Louvain-la-Neuve : Center for old world archaeology and art, Brown university ; Institut supérieur d'archéologie et d'histoire de l'art, Collège Erasme, 1995. http://catalogue.bnf.fr/ark:/12148/cb39142317n.
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Marie, Joséphine. "Les Amériques caribéennes et hispano-américaines dans les narrations de Gertrudis Gómez de Avellaneda : de la vision romantique aux regards postcoloniaux." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030121.
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Cette étude s’intéresse aux trois piliers de l’écrit narratif à la période romantique, dans les œuvres de la Cubaine Gertrudis Gómez de Avellaneda (1814-1873), portant sur les colonies hispano-américaines et caribéennes (Memorias, Sab, Guatimozín, El Cacique de Turmequé, El aura blanca). L’imagerie et les procédés habituellement mobilisés dans un romantisme hispano-américain, fortement inspiré des canons européens, et pourtant mu par un désir d’indépendance politique et culturelle, font de cette littérature une littérature du paradoxe. Non dépourvues de cette caractéristique, les narrations de l’auteur apparaissent toutefois comme de surprenants récits. A l’aune de l’évolution des formes romanesques qui ont succédé au Romantisme, jusqu’aux écrits de la modernité, et aux poétiques postmodernes et postcoloniales, on constate la modernité que ces textes présentaient déjà. La (dé)construction des personnages, en particulier le Métis, celle des lieux, et le jeu polyphonique de dires démultipliés remettent en question nombre des représentations traditionnelles, dans la réécriture de l’Histoire des Amériques. Un désir de dire autrement les divers « réels » émerge, ainsi que le souhait d’intégrer la complexité culturelle de cette zone. Sans avoir clairement défini de véritable poétique, l’auteur explore l’espace, la temporalité et le jeu des voix, pour fonder les bases d’une écriture ontologique et mémorielle qui interroge les identités. Celle-ci se créolise, par la mise en contact d’éléments hétéroclites qu’elle recompose, la multiplicité des sources littéraires ou orales, l’apparition de nouveaux territoires langagiers ou encore des personnages qui échappent aux typificationsThis study focuses on the three pillars of narrative art in the romantic era in the works of Cuban writer Gertrudis Gómez de Avellaneda (1814-1873) dealing with Hispanic-American and Caribbean colonies (Memorias, Sab, Guatimozín, El Cacique de Turmequé, El aura blanca). The images and narrative devices traditionally mobilized in Hispanic-American Romanticism – a literature strongly inspired by European artistic ideals, and yet driven by a desire for political and cultural independence – make it a literature pervaded by paradoxes. Although they tend to share this common feature, the authors’ narratives stand out and surprise. In the light of the evolution of the novelistic forms that followed Romanticism, including modernist writings, and postmodern and postcolonial poetics, these texts appear as already “modern”. The (de)construction of the characters – particularly the “Metis” – and places, together with the polyphonic effect of a myriad of different discourses, challenge many traditional representations concerning the re-writing of the History of the Americas. What emerges is a desire to find a new way to express the various forms of the “real” and to capture the cultural complexity of this geographical area. Without clearly defining any particular literary method or ars poetica, the author explores space, temporality and the interplay of voices, thus laying the bases for an ontological, memory-oriented mode of writing that questions identities. This mode of writing goes through a process of Creolization, as it gathers and recomposes disparate elements, multiplies its literary or oral sources, and makes new linguistic territories, or characters who elude types, materialize
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Doerner, Karl, Richard F. Hartl, and Marc Reimann. "Cooperative ant colonies for optimizing resource allocation in transportation." SFB Adaptive Information Systems and Modelling in Economics and Management Science, WU Vienna University of Economics and Business, 2000. http://epub.wu.ac.at/566/1/document.pdf.
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In this paper we propose an ACO approach, where two colonies of ants aim to optimize total costs in a transportation network. This main objective consists of two sub goals, namely fleet size minimization and minimization of the vehicle movement costs, which are conflicting for some regions of the solution space. Thus, our two ant colonies optimize one of these subgoals each and communicate information concerning solution quality. Our results show the potential of the proposed method.Series: Working Papers SFB "Adaptive Information Systems and Modelling in Economics and Management Science"
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Boldt, Janine Yorimoto. "The Art of Plantation Authority: Domestic Portraiture in Colonial Virginia." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1530192717.
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This dissertation critically examines the political and social significance of colonial portraiture by focusing on domestic portraits commissioned for Virginians between the mid-seventeenth century and 1775. Portraiture was a site where colonial and imperial identity was negotiated and expressed. Portraits also supported the construction of social relationships through the acts of representation, erasure, and reception. Chapter one focuses on portraits painted in England for Virginians before ca. 1735 and the use of English portrait conventions to suit the political needs of colonists and to express visions of themselves as agents of empire. This chapter reveals some of the ways Virginians used portraits to engage in transatlantic politics and social networks. Chapter two uncovers the regional preferences for expressing elite, community values centered around gender and family before 1770 in portraits of men, women, and children. It argues that portrait collections had dynastic purposes and visualized women as sexual beings and men as masters over colonial and female nature. Chapter three discusses the influence that enslaved Africans had on portraits of Virginians throughout the colonial period. It argues that the physical presence of enslaved people as audiences caused colonists to erase them from portraiture in order to construct and enforce a plantation complex system of visuality. Planters also disavowed the realities of slavery to emphasize their British civility. The last chapter uncovers the rapid changes in portraiture in the 1770s as colonists and artists confronted imperial crises and responded in diverse ways. The fracturing of gentry planter cohesion and the greater availability of artists changed portraiture in the colony. Virginians left behind the conventionalized nature of portraiture from earlier decades and many began including messages of resistance to imperial policy and partaking in pan-colonial modes of representation. This dissertation combines archival research with visual analysis to shed light on portraiture from a region typically overlooked by art historians. By focusing on a specific region over a long period of time, this project emphasizes the varied and important roles that portraits played in shaping colonial culture and society.
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Lozère, Christelle. "Mises en scènes de l'objet dans les "salons coloniaux" de province (1850-1896) : vers l'emergence de modèles d'expositions coloniales." Bordeaux 3, 2009. https://hal.science/tel-04204839v1.
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Peut-on construire une histoire des « expositions coloniales » françaises sans parler de celles organisées dès 1850 à Bordeaux, Nantes, Metz, Le Havre, Lyon, Rochefort, Cherbourg, Beauvais, Nice, Montauban, Rouen, Tours, Marseille ? La connaissance des « expositions coloniales » se circonscrit encore aujourd’hui aux seuls exemples parisiens, marseillais et lyonnais. Mais qu’en est-il des autres villes de province, et en particulier des ports qui ont des liens commerciaux anciens avec les Outre-Mers ? Existe-t-il des noyaux de motivation, des ambitions, des engouements, qui poussent ces « petites patries » à ouvrir leurs modestes expositions aux colonies ? Cette thèse, dont le corpus est novateur, met en lumière le processus qui conduit au XIXe siècle de l’émergence en province du concept de « salon colonial », organisé par quelques amateurs collectionneurs, à celui d’« exposition coloniale ». Ce passage, orchestré par l’Etat, sous la IIIe République, a pour dessein de vulgariser, par la diffusion de modèles scénographiques populaires, des expositions qui, au Second-Empire, s’adressent en priorité aux élites locales. L’objet exotique, écarté peu à peu des pavillons métropolitains et des salons artistiques, qu’il occupe au départ, se trouve mis à l’écart, rassemblé parmi les produits de même origine dans une « section coloniale », dans un pavillon ou dans un village ethnographique. Ce changement de place a des conséquences sur la fonction et sur le regard porté sur l’objet. Il passe, en effet, du statut d’objet rare, curieux et lointain, à un objet colonisé, dominé, sérialisé, hiérarchisé et façonné par les imaginaires et par les discours impérialistes en constructionCan we relate an history about French colonial exhibitions without talking about the ones organised in the 1850's in Bordeaux, Nantes, Metz, Le Havre, Lyon, Rochefort, Cherbourg, Beauvais, Nice, Montauban, Rouen, Tours, Marseille? The colonial exhibitions cognition is still today limited to the cities of Paris, Marseille or Lyon. And what about the other cities, specially harbours which have ancient commercial links with The Overseas? Which motivations, ambitions or trends let these « small patries » open their modest exhibitions to colonies? This thesis, which corpus is innovator, lightens the process, which leads in the XIXth century from the emergence in small cities of “salon colonial” concept, organised by some amateur collector, to a giant “colonial exhibition”. The aim of this process, stipulated by the State during the IIIrd Republic is to popularize exhibitions dedicated first to local elites under 2nd Empire. The exotic object put aside step by step from metropolitan houses and artistic exhibitions, is put apart, gathered amongst products with same source, in a « colonial section », in a thematic house or an ethnographic village. This switching has consequences on the use and interest given to the object. Indeed first considerated as a rare, strange and foreign object, it becomes a colonized, dominated object, with a hierarchy, built by the upcoming imperialist thoughts and talks
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Clair, Romain. "Etude de méthodes de production d'art génératif et de leur application pour la conception d'outils de création artistique accessibles." Thesis, Tours, 2010. http://www.theses.fr/2010TOUR4026/document.
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Partant d'une étude de méthodes algorithmiques de création artistique automatique, nos travaux s'intéressent à des adaptations de ces méthodes pour proposer des formes de création artistique accessibles centrées sur la musique et le dessin par ordinateur. Le développement d'outils informatiques accessibles impose certaines contraintes. Elles servent de cadre au développement de deux outils qui illustrent la mise en œuvre de ces contraintes, associées à l'adaptation de systèmes de production artistique automatique, notamment basés sur des algorithmes de colonie de fourmis artificielles. Le premier programme est un instrument de musique virtuel permettant au plus grand nombre de jouer de la musique, et fournissant un accompagnement automatique. Le second est un atelier de dessin où des outils basés sur des méthodes génératives offrent un résultat complexe à partir d'actions très simples. Cette thèse détaille le développement de ces deux programmes ainsi que leur évaluation, sur le terrain, à la rencontre d'utilisateurs réelsStarting from a survey of algorithmic methods for automatic artistic creation, our works deals with adaptations of these methods to provide accessible art creation forms, focusing on music and computer drawing.the development of accessible computer software requires some constraints. Following these constraints and using adapted automatic art production systems, notably based on artificial ant colony algorithms, we developed two computer programs.The first one is a virtual music instrument, allowing most people to play music and providing and automatic accompaniment.The second one is a drawing workshop with generative methods-based tools provide complex results from simple actions.This PhD thesis details the development of this two programs and their evaluations, with real users meetings
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Bremang, Appah. "Using ant colonies for solve the multiprocessor task graph scheduling." Thesis, Högskolan Dalarna, Datateknik, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2381.
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The problem of scheduling a parallel program presented by a weighted directed acyclic graph (DAG) to the set of homogeneous processors for minimizing the completion time of the program has been extensively studied as academic optimization problem which occurs in optimizing the execution time of parallel algorithm with parallel computer.In this paper, we propose an application of the Ant Colony Optimization (ACO) to a multiprocessor scheduling problem (MPSP). In the MPSP, no preemption is allowed and each operation demands a setup time on the machines. The problem seeks to compose a schedule that minimizes the total completion time.We therefore rely on heuristics to find solutions since solution methods are not feasible for most problems as such. This novel heuristic searching approach to the multiprocessor based on the ACO algorithm a collection of agents cooperate to effectively explore the search space.A computational experiment is conducted on a suit of benchmark application. By comparing our algorithm result obtained to that of previous heuristic algorithm, it is evince that the ACO algorithm exhibits competitive performance with small error ratio.
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Flores, Judy. "Art and identity in the Mariana Islands : issues of reconstructing an ancient past." Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300724.
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The Marianas, a chain of small tropical islands in western Micronesia, were the first to be subjected to colonisation in the Pacific and are among the last to move into self-governance. The islands were administered as a Spanish colony for 230 years following establishment of a Jesuit mission in 1668. The United States claimed Guam during the Spanish-American War in 1898, while Germany then Japan and finally the United States governed the Northern Marianas. This long period of colonisation largely obliterated the native Chamorros' consciousness of an indigenous past. Rapid social changes that began in the 1960s had severely undermined the Chamorro sense of identity by the beginning of the 1980s. Counterforces, however, were beginning to take shape, driven by local as well as international movements. Using Chamorro art as a theme, this thesis traces the history of the native people and their cultural transformations which defined their identity as a continuing cultural group, despite their loss of an indigenous history. Recent social, economic and political changes have triggered a movement to express their identity as a people separate from their colonisers. Indigenous artists are involved in a renaissance of artistic creation that draws on perceptions of their pre-contact culture for inspiration. Chapters explore the beginnings of a self-conscious cultural awareness and subsequent reconstruction of their ancient history, expressed through neo-traditional creations of song, dance and visual art forms. Their sources of inspiration and processes of creating identity symbols from an ancient past are revealed through extensive interviews and fieldwork. Indigenous ways of looking at history and perceptions of both insiders and outsiders regarding validation of these art forms are discussed in terms of local examples which are compared to Pacific and global movements of decolonisation and identity formation. The text is referenced by an appendix of over 150 photographic examples of Chamorro art and artefacts from museums, historical documents and fieldwork
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Stickland, Timothy R. "Theoretical and experimental studies of the self-organisation of ant colonies." Thesis, University of Bath, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239951.
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Sa'adah, Samer. "Solving vehicle routing problems using multiple ant colonies and deterministic approaches." Thesis, Edinburgh Napier University, 2007. http://researchrepository.napier.ac.uk/Output/9469.
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In the vehicle routing problem with time windows VRPTW, there arc two main objectives. The primary objective is to reduce the number of vehicles, the secondary one is to minimise the total distance travelled by all vehicles. This thesis describes some experiments with multiple ant colony and deterministic approaches. For that, it starts explaining how a double ant colony system called DACS 01 with two colonies has the advantage of using the pheromone trails and the XCHNG local search and the ability of tackling multiple objectives problems like VRPTW. Also, it shows how such DACS system lacks vital components that make the performance as comparable and competitive with that of the well-known VRPTW algorithms. Therefore, the inclusions of components, like a triple move local search, a push-forward and pushbackward strategy PFPBS, a hybrid local search HLS and a variant of a 2-0pt move, improve the results very significantly, compared to not using them. Furthermore, it draws the attention to an interesting discovery, which suggests that if a DACS system uses ants that arc more deterministic, then that system has the ability to bring performance that is better than that of another DACS system with pheromone ants. Consequently, the interesting discovery has motivated the author to investigate a number of SI1- Like deterministic approaches, which most of them depend on capturing under-constrained tours and removing them using a removing heuristic that uses the hybrid local search HLS. Some of these SI1-Like approaches show signs of the ability of improving the average, best and worst case performances of DACS systems on some problem set cases, if they are merged with such systems. Of course, this casts some doubt on whether the usc of pheromone trails, which is a distinctive feature of multiple ant-colony systems in the research literature, is really so advantageous as is sometimes claimed. Experiments are conducted on the 176 problem instances with 100, 200 and 400 customers of Solomon [1], Ghering and Homberger [2] and [3]. The results shown in this thesis are comparable and competitive to those obtained by other state-of-the-art approaches.
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Missoh, Claudia. "Division of labor in anti-parasite defense strategies in ant colonies." Thesis, Paris 6, 2014. http://www.theses.fr/2014PA066450/document.
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La division du travail est une caractéristique clé chez les insectes sociaux et contribue à leur succès écologique. En ce qui concerne les tâches sanitaires, la division du travail au sein d’une colonie peut permettre de réduire la transmission des maladies, de libérer certaines ouvrières pour d’autres tâches, permettant de diminuer les couts associés à l’exécution des tâches sanitaires (sur le plan comportementale et physiologique). Les facteurs externes et internes aux individus déterminant leur participation aux tâches sanitaires ne sont pas bien connus. La plupart des études portent sur l’importance des différences génétiques entre ouvrières. Dans les deux premières études, j’ai examiné le rôle de l’expérience des individus (par exposition répétée à des déchets sanitaires ou à l’exécution d’une tâche) sur la mise en place de différences interindividuelles dans l’exécution d’une tâche sanitaire comportementale. L’exposition à un parasite est une menace fréquente au sein de colonies d’insectes sociaux. En utilisant la fourmi clonale Platythyrea punctata, j’ai voulu savoir si une exposition répétée des individus à des larves portant une faible quantité de conidiospores du champignon Metarhizium robertsii affectait la performance des soins sanitaires portés au couvain. J’ai trouvé que la durée de nettoyage des larves était plus élevée chez des fourmis entrainées, aux larves exposées ou non exposées au champignon, que chez des fourmis inexpérimentées. Un temps de nettoyage plus élevé améliorait l’élimination des conidiospores. Ainsi les fourmis entrainées pourraient être plus efficaces pour éliminer les conidiospores lors d’une attaque parasitaire de la colonie. La décomposition des cadavres représente un risque sanitaire dans les colonies d’insectes sociaux, nécessitant une gestion de cadavres. Dans la deuxième étude, j’ai étudié la possibilité d’une division du travail dans la gestion des cadavres (c'est-à-dire le nettoyage et le transport) chez les ouvrières de la fourmi polygyne et polymorphe Cataglyphis velox. J’ai plus spécifiquement testé si la propensité d’accomplir ces tâches était en rapport avec une récente expérience individuelle ou avec la taille des ouvrières. Nos observations ont montré que la majorité des individus de la colonie n’effectuait que rarement des tâches de gestion de cadavres même si quelques individus pouvaient être impliqués plus fréquemment, au moins sur un laps de temps cours, dans l’exécution de ces tâches. Les résultats suggèrent une faible division du travail dans le nettoyage et le transport des cadavres et une faible modulation de ces tâches par l’exposition répétée des ouvrières à des cadavresDivision of labor is a key characteristic of social insects and contributes to their ecological success. Especially in disease defense, the intra-colony partitioning of sanitary work can reduce disease transmission, keep nestmates available for other tasks and reduce costs associated with sanitary task performance (i.e. at the behavioral and physiological level). Factors internal and external to the individual affecting sanitary task allocation are not well known and most studies investigated genetic differences between workers performing behavioral sanitary work. In the first two studies I addressed whether individual experience (through repeated exposure to a sanitary hazard or performance of the task) can generate interindividual differences in the performance of behavioral sanitary tasks. Repeated parasite exposure is a common threat in colonies of social insects, posing selection pressures on colony members to respond with improved disease-defense performance. In the clonal ant Platythyrea punctata, I tested whether experience gained by repeated tending of low-level fungus-exposed (Metarhizium robertsii) larvae alters the performance of sanitary brood care. I found that ants trained both with sham- and fungus-treated larvae groomed the brood longer than naive ants. Increased grooming of fungus-treated larvae resulted in more effective fungal removal, thus making trained ants better caretakers under parasite attack of the colony. Decomposing cadavers pose a sanitary risk to social insect colonies, necessitating cadaver management. In the second study I investigated whether cadaver management (i.e. cadaver grooming and transports) is divided among workers and task allocation affected by recent individual experience or worker size in the polymorphic and polygynous ant Cataglyphis velox. Many individuals performed cadaver management infrequently and few individuals dominated task performance. Our results suggested low division of labor for cadaver grooming and transport and a reduced modulation of these behaviors by recurrent exposure to nestmate cadavers
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Storey, Ann Elizabeth. "The identical synthronos Trinity : representation, ritual and power in the Spanish Americas /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/6228.
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Chang-Rodríguez, Raquel. "Exhibición: "Guaman Poma de Ayala. The Colonial Art of an Andean Author"." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/122047.
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Dempsey, Adrienne M. "To Market: Representations of the Marketplace by New Zealand Expatriate Artists 1900-1939." Thesis, University of Canterbury. Centre for Fine Arts, Music and Theatre, 2012. http://hdl.handle.net/10092/7277.
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New Zealand expatriate artists working in England, Europe and North Africa in the early twentieth century painted a wide variety of market scenes. The subject features in the oeuvre of Frances Hodgkins, Maud Sherwood, Sydney Lough Thompson, Maude Burge, Owen Merton, Robert Procter and John Weeks and made a significant contribution to their artistic development. Like their contemporaries in the artists’ colonies and sketching grounds of England and Europe, New Zealand artists were often drawn to traditional rural and fishing villages and sought to capture the nostalgia of the ‘old world.’
Early exploratory works by New Zealand expatriates have often been dismissed merely as nostalgic visions of colonials, without any real artistic merit. This research offers a re-evaluation of these works, recognising their value as transitional works which illustrate New Zealand expatriate artists experimenting with early modernist trends, as well as revealing prevalent contemporary tastes among the New Zealand public. This study offers a comprehensive examination of the market theme and highlights the aspirations and achievements of New Zealand expatriate artists. This is reflected in both their choice of subjects and in the way in which these were depicted. A key finding of this research is that New Zealand expatriate artists developed a distinctive response towards the market subject.
The vibrant atmosphere and activity of the market and colourful views of canvas booths, awnings and costume provided the perfect means of expression for these artists to explore a variety of painterly concerns and techniques, among them plein-air and impressionist painting, watercolour techniques and a modern treatment of colour and light. The hypothesis of a ‘female gaze’ is explored with specific reference to depiction of the market subjects by Frances Hodgkins and Maud Sherwood. Placed within a wider art historical context of images of female market vendors, their market works offer an original interpretation of the female milieu of the European market. Finally, the expatriates’ vision of the exotic and colourful markets in North Africa and Egypt is investigated. They offered an alternative response to more traditional Orientalist interpretations and their Maghrebian explorations were the catalyst for key stylistic developments in colour and form.
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Benedetto, Giuseppe. "La colonne à travers l'espace-temps et/ou l'imaginaire de la durée /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.
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Lespes, Marlène. "De l'orientalisme à l'art colonial : les peintres français au Maroc pendant le Protectorat (1912-1956)." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20098/document.
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À travers l’étude des peintres français partis au Maroc pendant le Protectorat, cette thèse examine la structuration et le développement de l’art colonial, courant qui succède à l’orientalisme au tournant des XIXe et XXe siècles. Loin d’être un phénomène isolé, le séjour dans ce pays pendant la période coloniale concerne des centaines d’artistes. Ces voyages sont encouragés et parfois même financés par des sociétés artistiques métropolitaines et par les gouvernements coloniaux. À Paris, des Salons et des expositions, comme les Expositions coloniales ou universelles, réservent des espaces spécifiques aux œuvres sur les colonies. Plusieurs artistes, critiques et conservateurs tentent par ailleurs de montrer de quelle manière l’art colonial est utile pour la propagande colonialiste. Après avoir retracé l’expérience marocaine des peintres français, il s’agira de présenter les principales institutions artistiques et culturelles occidentales dans le Protectorat. L’art colonial reprend certains thèmes orientalistes, mais leur apporte davantage de sobriété, de pondération et de vraisemblance. L’iconographie coloniale marocaine se distingue de celles des autres colonies par le nombre important d’œuvres consacrées aux cavaliers, aux Berbères et aux monuments historiques. Cette spécificité est due en partie à la politique culturelle menée par Lyautey, au développement de l’ethnographie marocaine et aux objectifs assignés à l’art colonial. Cette analyse est complétée par un dictionnaire des artistes du corpusThrough the study of French painters gone to Morocco during the Protectorate, this thesis reviews the structures and the emergence of Colonial art, which followed Orientalism at the turn of the century. Far from being an isolated phenomenon, hundreds of artists stayed in this country during the colonial period. The journey is motivated and even sometimes founded by artistic metropolitan societies and by colonial governments. In Paris, Salons and exhibitions such as World's Fairs and Colonial exhibitions dedicate specific areas to works on the colonies. Many artists, critics or curators also attempt to demonstrate how Colonial art can be useful to colonial propaganda. After outlining the French painters’ Moroccan experience, the main artistic and cultural occidental institutions during the Protectorate will be presented. Colonial art continues to represent some Orientalist themes but integrate them with more restraint, moderation and realism. Moroccan colonial iconography can be distinguished from the other colonies by the amount of work dedicated to horse riders, to Berbers and to historical monuments. This particularity is partly due to the cultural policy pursued by Lyautey, to the development of Moroccan ethnography and to the specific goals targeted for Colonial art. This analysis is followed by a dictionary of the artists corpus
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Jeudy, André. "Administrateur des colonies essai d'autobiographie critique /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37606186n.
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Biles, Annabel, and mikewood@deakin edu au. "Envisioning Indochina: the spatial and social ordering and imagining of a French colony." Deakin University, 1997. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050815.113440.
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The emergence of Indochina in the French imagination was articulated in both representational and institutional modes. Representation involves the transmission of colonial ideals through more obtuse means; that is, through literary texts, travelogues, exhibitions, film and advertising. However, these textual sites feed from and invest in a material situation, which was the institutional arm of colonialism. Indochina was institutionally articulated in cartographic maps and surveys, in the new social spaces of cities and towns, in architectural and technological forms, through social technologies of discipline and welfare and in cultural and religious organisations. The aim of this thesis is to analyse, across a number of textual sites, the representation and institutionalisation of Otherness through the politics of space in the French colony of Indochina, Indochine in this sense becomes a spatial discourse. The French constructed a mental and physical space for Indochina by blanketing and suffocating the original cultural landscape, which in fact had to be ignored for this process to occur. What actually became manifest as a result of this projection stemmed from the French imagination.
Just as the French manipulated space, language also underwent the same process of reduction. The Vietnamese script was latinised to make it more 'useable' and accessible. Through christening the union of Indochina; initiating a comprehensive writing reform; and renaming the streets in the colonial cities, the French used language us another tool for 'making transparent'. Furthermore, the colonial powers established a communication and transport network throughout the colony in an attempt to materialise their fictive (artificial) vision of a unified French Indochinese space. The accessibility and design of these different modes of transport reflected the gendered, racial and class divisions inherent in the colonial establishment.
At the heart of representing and institutionalising Indochina was the desire to control and contain. This characterised French imperial ordering of space in the city and the rural areas. In rural areas land was divided into small parcels and alienated to individuals or worked into precise grids for the rubber plantation. In urban centres the native quarter was clearly demarcated from the European quarter which functioned as its modern, progressive Other. The rationale behind this segregation was premised on European, nineteenth century discourses of race, class, gender and hygiene. Influenced by Darwinian and neo-Lamarkian theories of race, this biological discourse identified the 'working class', 'women' and 'the native' as not only biologically but also culturally inferior. They were perceived as a potential, degenerative threat to the biological, cultural and industrial development of the nation. In the colonial context, space was thus ordered and domesticated to control the native population. Coextensively, the literature which springs from such a structure will be tainted by the same ideas, and thus the spaces it formulates within the readers mind feed on and reinforce this foundation.
Examples of gender and indigenous narratives which contest this imaginative, transparent topography are analysed throughout this thesis. They provide instances of struggle and resistance which undermine the ideal/stereotypical level of architectural and planned space and delineate an alternative insight into colonial spatial and social relations. The fictional accounts of European women and indigenous writers both challenge and reaffirm the fixity of some of these idealised colonial boundaries.
In various literary, historical, political, architectural and cinematic discourses Indochina has been und continues to be depicted as a modern city and exotic Utopia. Informed by the mood of nostalgia, exotic images of Indochina have resurfaced in contemporary French culture. France's continued desire to create, control and maintain an Indochinese space in the French public imagination reinforces the multi-layered, interconnected and persistent nature of colonial discourse.
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Koh, Bee Kim. "Coming into Intelligibility: Decolonizing Singapore Art, Practice and Curriculum in Post-colonial Globalization." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397669338.
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Morehouse, Dawn M. "Copley's compromise navigating the discourse of beauty and likeness in colonial Boston /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 58 p, 2008. http://proquest.umi.com/pqdweb?did=1597629701&sid=23&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Diez, Estenaga Ana Isabel. "Les Fronts pionniers des Llanos colombiens de la colonisation à l'intensification de la production agricole, le cas du Meta /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37604552z.
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Kurzmeyer, Roman. "Viereck und Kosmos : Künstler, Lebensreformer, Okkultisten, Spiritisten in Amden 1901-1912 : Max Nopper, Josua Klein, Fidus, Otto Meyer-Amden : [erscheint zur Ausstellung "Viereck und Kosmos : Künstler, Lebensreformer, Okkultisten, Spiritisten in Amden, 1901-1912", in Amden und im Kunsthaus Glarus, von 27. Juni bis 29. August 1999] /." Zürich : Voldemeer, 1999. http://catalogue.bnf.fr/ark:/12148/cb39150807f.
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Blake, Kate M. "Drawing All the Way: The Confluence of Performance, Cultural Authority, and Colonial Encounters in the Painting of Rover Thomas." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371721339.
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Jordan-Ruwe, Martina. "Das Säulenmonument : zur Geschichte der erhöhten Aufstellung antiker Porträtstatuen /." Bonn : R. Habelt, 1995. http://catalogue.bnf.fr/ark:/12148/cb376304917.
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Texte remanié de: Diss.--Philosophische Fakultät--Münster--Westfälische Wilhelms-Universität, 1991.Contient en appendice les textes grecs concernant les colonnes de Constantinople. Bibliogr. p. XIII-XXIII. Index.
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Doran, Carolina. "The effect of nest value on exploration and emigration dynamics of ant colonies." Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687600.
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The rules underlying the formation of complex patterns have been at the centre of several research fields. In Biology, understanding what brings animal groups together and how they maintain group cohesion has received a fair amount of attention. This thesis focuses on these processes in social insects, in particular we study collective decision making in Temnothorax albipennis ant colonies. These colonies inhabit rock crevices, whose fragility leads to frequent colony emigrations. Hence, individuals must be able to choose an appropriate target nest and reach a consensus whilst maintaining the group together. Interestingly, colonies also emigrate to new homes even if their current nest remains intact, whenever the value increase in relation to their current home compensates for the risks and costs of emigrating. We further investigate these move-to-improve emigrations by analysing how housing conditions affect both the exploration and emigration dynamics. The results presented, show (1) how colonies adjust their nest searching effort with regard to the value of their current home and (2) how, both the decision to upgrade to a better home and how much effort to put into the search for a higher quality nest is driven by flexibility both at the collective and individual level, (3) with experience being crucial for efficient task performance. Animals in groups are able to achieve a lot more than the sum of the efforts of each individual working alone, however, one should not underestimate the capacities of each individual. Further research should focus on how intelligent individuals contribute effectively to collective intelligence.
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DiRienzo, Nicholas, and Anna Dornhaus. "Temnothorax rugatulus ant colonies consistently vary in nest structure across time and context." PUBLIC LIBRARY SCIENCE, 2017. http://hdl.handle.net/10150/624944.
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A host of animals build architectural constructions. Such constructions frequently vary with environmental and individual/colony conditions, and their architecture directly influences behavior and fitness. The nests of ant colonies drive and enable many of their collective behaviors, and as such are part of their 'extended phenotype'. Since ant colonies have been recently shown to differ in behavior and life history strategy, we ask whether colonies differ in another trait: the architecture of the constructions they create. We allowed Temnothorax rugatulus rock ants, who create nests by building walls within narrow rock gaps, to repeatedly build nest walls in a fixed crevice but under two environmental conditions. We find that colonies consistently differ in their architecture across environments and over nest building events. Colony identity explained 12-40% of the variation in nest architecture, while colony properties and environmental conditions explained 5-20%, as indicated by the condition and marginal R-2 values. When their nest boxes were covered, which produced higher humidity and lower airflow, colonies built thicker, longer, and heavier walls. Colonies also built more robust walls when they had more brood, suggesting a protective function of wall thickness. This is, to our knowledge, the first study to explicitly investigate the repeatability of nestbuilding behavior in a controlled environment. Our results suggest that colonies may face tradeoffs, perhaps between factors such as active vs. passive nest defense, and that selection may act on individual construction rules as a mechanisms to mediate colony-level behavior.
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Cooper, Simon. "The Colonial Shaman: Animism, Contemporaneity and the Boundaries of Enlightened Prejudice." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25856.
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If contemporary visual art is to tell us anything about current society and culture, then its treatment of animist cultural production is of great interest. This doctoral research highlights visual art’s bias surrounding what and who it considers to be contemporary. That is, a Western-centric bias privileging a materialistic, inanimate view of the world where each person has their own unique subjectivity and personhood is reserved solely for humans. The research charts how this bias excludes from the contemporary, a worldview which embraces an animate universe populated with non-human persons and considers subjectivity as something that can be transferred and exchanged. It will show that this animist worldview is often rejected by or removed from contemporary visual art in line with the colonial imperial perspective that animism is naive, ignorant, outdated, pre-modern and traditional. Furthermore, it will show that this bias extends to Western artists appropriating animist cultural perspectives and using them as radical tactics in the production of contemporary visual art without challenging the status of animism as the antithesis of the contemporary. In other words, this research exposes a Western-centric flaw in contemporary visual art’s conception of the contemporary.
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Torres, Anita Jacinta. "The Flora and Fauna in Eighteenth-Century Colonial Mexican Casta Paintings." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5210/.
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The primary objective of this thesis is to identify patterns of appearance among the flora and fauna of selected eighteenth-century New Spanish casta paintings. The objectives of the thesis are to determine what types of flora and fauna are present within selected casta paintings, whether the flora and fauna's provenance is Spanish or Mexican and whether there are any potential associations of particular flora and fauna with the races being depicted in the same composition. I focus my flora and fauna research on three sets of casta paintings produced between 1750 and 1800: Miguel Cabrera's 1763 series, José Joaquín Magón's 1770 casta paintings, and Andrés de Islas' 1774 sequence. Although the paintings fall into the same genre and within a period of a little over a decade, they nevertheless offer different visions of New Spain's natural bounty and include objects designed to satisfy Europe's interest in the exotic.