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Luther, Anne-Katrin. "Collecting contemporary art : a visual analysis of a qualitative investigation into patterns of collecting and production." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9885/.
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The dissertation presents a cultural analysis of contemporary art collecting and art production with an illustration of patterns that overlap in collecting and art production practices in contemporary art. The illustrated visual network shows how institutions, local context, social strategies and prestige overlap in their influences on art production as a cause for collecting contemporary art. Economic exchange, reputation, a perception of time, and the personal and emotional understanding of objects and material are four patterns that illustrate reasons for collecting contemporary art in conclusion. This analysis is based on a visualisation of the structured field data that was generated in a participatory field study in the New York art world, consisting of semi-structured interviews between 2013 – 2015. Limitations in usability and interface design, and the need for a sufficient visualisation tool for qualitative data analysis, drew the focus of this study to the development of a new data visualisation software. After a peer-reviewed process, the software Entity Mapper was selected for use in this thesis to visually analyse the collected and structured data. The analysis takes location, size, hierarchy and movement of the structured data in the visual map into consideration for concluding theoretical statements.
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Dunn, Stephanie. "Collecting Memories: Rachel Whiteread’s House and Memory in Contemporary London." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19348.
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Contemporary British artist Rachel Whiteread is celebrated for her ability to cast everyday objects that force the viewer to think about the spaces they typically ignore. House, one of Whiteread’s most well known and written about sculptures was created in 1993. House considered issues of memory in contemporary London, specifically parts of London that are experiencing drastic amounts of change. Current scholars understand House as a memorial, and while this thesis agrees with this interpretation, it also considers House as part of a group memorial with Whiteread’s other sculptural works created before and in 1993. This thesis begins by contextualizing Whiteread’s artistic practice in current scholarship and argues for further evaluation of House. After a thorough examination of the creation, destruction, and reception of House, I analyze current scholarship on the sculpture and consider the similar themes through Whiteread’s early work to prove their ability to act as a group memorial.
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O'Neil, Lillian Pearl. "The peak of the abyss." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/12453.
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This studio research examines processes of collecting, arrangement and collage. It looks into the relationship between memory and collecting to consider how we order and construct meaning. It investigates how when used as a medium collage can function to bring latent content to a conscious plane
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Atkinson, Louise. "Souvenirs from the British Isles : archiving, curating, and collecting in contemporary art practice." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16860/.
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My interdisciplinary practice-based research project utilises a theoretical framework of anthropology to explore concepts associated with economic and cultural appropriation in visual art. Through investigating the problematic history of artists appropriating ethnographic objects for use in their own work, the project considers how anthropology could be used to engage audiences in a more collaborative fashion. This thesis also outlines the processes for producing a body of work using the museum strategies of archiving, collecting and curating. This includes aspects of documentation, interpretation, and dissemination through online and offline channels such as blogging and participatory arts. The two main projects included in the thesis, The Imaginary Museum and Souvenirs from the British Isles, consider how audiences can be engaged through the artwork to produce their own interpretations. The Imaginary Museum achieved this through the physical interaction of audiences collecting postcards. Through ascribing a value to the work with the inclusion of a donation box and only having postcards available within the time frame of the exhibition, the audience began to consider the works as both limited edition artworks and souvenirs of the exhibition. Similarly, there was an element of ambiguity between the artwork and souvenir in the Souvenirs from the British Isles exhibition. Here the sculptures took the aesthetic of the souvenir but were presented in the style of museum artefacts which discouraged tactile engagement. This resulted in a more conceptual interaction, with audiences discussing potential interpretations of the work with each other. Both of these works demonstrate a method of engaging with the museum format, which suggests a model for other artists working in and with collections. Through considering the museum framework as a contact zone, I also aim to suggest the possibility of a collaborative form of anthropology, which can express multiple responses and interpretations of the work of art, whilst also addressing the more problematic aspects of cultural appropriation.
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Sepez, J. A. "Political and social ecology of contemporary Makah subsistence hunting, fishing, and shellfish collecting practices /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6400.
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Moser, Susan. "K-12 Educational Programs in Contemporary Art Museums: An Examination of University and Non-University Non-Collecting Institutions of Contemporary Art." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/4031.
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This museum thesis project will provide an overview of kindergarten through 12th-grade (K-12) educational programs at six non-collecting art institutions within the United States, contextualized within a selected historiography of art museum education. This project is designed to aid the Virginia Commonwealth University Institute for Contemporary Art (ICA). The ICA is a non-collecting institution that will be located on VCU’s Monroe Park campus. As the ICA staff sets out to articulate a vision and scope for its K-12 education programs, it will benefit from the information offered in this thesis project, especially given that there is no existing literature specifically about K-12 programs at non-collecting museums of contemporary art.
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Walker, Dell. "On the Process of Creativity: The use of unconscious thought, and rubbish, in contemporary visual art practice." Thesis, University of Sydney, 2019. https://hdl.handle.net/2123/23001.
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This research into creativity arises from a studio practice centred in unconscious thought; in an immersive approach, I restricted myself to only allow concepts, materials and methods to be determined by hidden motives. Maintaining a broad, open mode of attention, not focused on an outcome, bypasses the usual constructions; in pre-reflective silence, high speed, multi-dimensional, unconscious thought is free to reinterpret objects according to their meaning-for-me. While open to all materials, this methodology led to working exclusively with discards and narrowed to plastic rubbish. The Use of Rubbish in Art is surveyed. Choices guided by unconscious motivations, are always aligned with deep-seated values and concerns. The call of these objects toward me revealed the depth of my anxiety about the earth and its peoples; discarded styrofoam became emblematic for gross wastefulness and damage. Recent cognitive neuroscience confirmed the findings of phenomenology showing that my experience with unconscious thought has universal underpinnings. The artist using intuited thoughts is Thinking via Materials Not Yet Conscious Thoughts. In my discussion of Salvage, Collecting and Hoarding in Art (all extreme forms of consumption), pivotal is Song Dong’s reiterated work Waste Not. My own works of post-consumer packaging critique the escalation of international capitalism and consumerism; unsustainable consumption is the main driver of global warming. In Changing Mindsets, I examine reasons humans do not choose the best options for our combined futures. Though natural decision-making favours the easiest choices, research indicates that minds can be changed for improved sustainability outcomes. Art is shown to be effective in positive public debate; through surprise, humour, ambiguity, paradox, the poetic and emotive, art can be revelatory and transformative. Examples are critiqued of artists whose work with discards creates a space for changing mindsets on environmental issues.
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Bueno, Delgado Patricia. "Towards a professional learning dialogue in Mexican contemporary art museums." Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17618/.
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Dialogue is a tool that can be used to promote learning experiences amongst audiences in contemporary art museums, in particular due to the potential difficulty of interpreting this type of art. This study argues that when dialogue between the museum and audience promotes balanced opportunities to express ideas and information, the museum can also learn. The museum can share the learning findings about audiences with the rest of the staff members through a professional dialogue, which may impact, creating positive change on future museum practice, in order to facilitate exhibitions, programmes and activities better targeted to audiences. The research explores the concept of learning dialogue using interviews, content analysis, and a theoretical framework related to learning and dialogue in museums. The study also analyses the role of learning and education, and their context in contemporary art museum practice in Mexico, using critical texts and practical evidence from interviews with educators, curators and directors. The thesis investigates, in particular, the case study of the Enlaces programme at the University Museum of Contemporary Art (MuAC). This is a learning activity where the Enlaces participants, who are university students, receive training about the specialist knowledge required to understand contemporary art. The participants aim to create further dialogue with audiences with the purpose of provoking questions, reflection and understanding of MuAC’s contemporary artworks and exhibitions. Findings from the Enlaces participants’ interviews reveal a learning dialogue with audiences, resulting in a model that considers the interaction of three categories of dialogue: visual internal, content and participatory dialogues. Furthermore, the research demonstrates that the interactions between the Enlaces participants and MuAC staff stimulate peer dialogue, professional dialogue and limited dialogue. The analysis of findings results in a model for professional learning dialogue based on the interaction between three key areas: communication, recognition and teamwork. The research proposes an optimal scenario where there is professional and audience learning dialogue taking place, these then feedback to the museum cyclically, allowing audiences to contribute and influence the organisation.
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Jankauskas, Jennifer Kathleen. "Acquiring contemporary art in today's global market : collecting strategies at small, mid-sized and regional American museums." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/32246.
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Over the years, prices for contemporary works of art have continued to rise to the point that many small, mid-sized and regional American art museums have difficulties collecting in this arena. Few authors have examined this phenomenon, or the different tactics in place to combat it. This study aims to fill this gap by undertaking a detailed analysis of successful museum acquisition processes at several museums. To ground the discussion I closely examine the hierarchical systems of the art world and its subset, the art market, and investigate the ways in which particular actors, including collectors, dealers and museum curators, negotiate this realm. Despite the economic hardships that they face, many museums embark on creative strategies to compete in this global market. In order to identify and evaluate these strategies I take an ethnographic approach to the research. Participant observations were undertaken at three American art fairs to fully understand the role of key participants in the market. Furthermore, semi-structured interviews with gallery dealers, museum curators and museum directors revealed both the challenges and solutions involved in the acquisition process, and led to the examination of six key strategies currently in place at museums around the United States. An analysis of these strategies demonstrates the creativity and entrepreneurial nature necessary for continued collecting of contemporary art in a market that has outpaced acquisition budgets.
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Waelder, Laso Pau. "Selling and collecting art in the network society: Interactions among contemporary art new media and the art market." Doctoral thesis, Universitat Oberta de Catalunya, 2016. http://hdl.handle.net/10803/399029.
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Aquesta tesi explora i analitza les interaccions actuals entre art, nous mitjans i el mercat de l'art, i també les transformacions que es produeixen en el reconeixement de l'art digital, l'estructura del mercat de l'art i els rols de l'espectador i el col·leccionista. La tesi es divideix en tres parts. La primera part analitza les maneres en què l'art de nous mitjans s'ha definit ell mateix com un món de l'art específic, i les polèmiques que exemplifiquen la seva separació del món de l'art contemporani. La segona part analitza les motivacions i les expectatives dels artistes que treballen amb tecnologies emergents, per mitjà d'una enquesta feta per l'autor entre més de cinc-cents artistes de cinquanta països. La tercera part analitza les maneres en què l'art digital ha estat comercialitzat i els canvis recents en el mercat de l'art contemporani a internet.<br>La presente tesis explora y analiza las interacciones actuales entre arte, nuevos medios y el mercado del arte, así como las transformaciones que se están produciendo en el reconocimiento del arte digital, la estructura del mercado del arte y los roles del espectador y el coleccionista. La tesis se divide en tres partes. La primera parte analiza las formas en que el arte de nuevos medios se ha definido a sí mismo como un mundo del arte específico, y las polémicas que ejemplifican su separación del mundo del arte contemporáneo. La segunda parte analiza las motivaciones y las expectativas de los artistas que trabajan con tecnologías emergentes, por medio de una encuesta realizada por el autor entre más de quinientos artistas de cincuenta países. La tercera parte analiza las maneras en que el arte digital ha sido comercializado y los cambios recientes en el mercado del arte contemporáneo en internet.<br>The present dissertation explores and analyzes the current interactions among art, new media and the art market, as well as the ongoing transformations in the recognition of digital art, the structure of the market, and the role of the viewer and collector. It is divided into three parts. The first part analyzes the ways in which new media art has defined itself as a distinct art world, as well as the controversies that exemplify its separation from the mainstream contemporary art world. The second part exposes the motivations and expectations of artists working with emerging technologies by means of a survey carried out by the author among more than 500 artists from 50 countries. The third part discusses the ways in which digital art has been commercialized as well as the recent developments in the online contemporary art market.
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Martin, Paul Kenneth. "Contemporary popular collecting in Britain : the socio-cultural construction of identity at the end of the second millennium AD." Thesis, University of Leicester, 1997. http://hdl.handle.net/2381/31148.
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This study is an attempt firstly, to explain the phenomenal increase both in the activity of collecting and the range of material that is now collected in Britain. It dose this by exploring the contexts of change over the last twenty years. This change it is argued has led to a culture of social and material insecurity in which collecting is used for the creation and defence of identity. The social theory of Guy Debord is employed as an underlying philosophy in which contemporary popular collecting is interpreted as a passive situationist response to a society driven by market forces. The social world and values of collectors are explored through their clubs, which it is asserted, comprise an alternative society or environment, one in which a legitimisation of their activities and preferences can be made and in which they develop a complimentary reality. Secondly it compares private popular collecting with that of museums, finding both potential and need for a closer relationship. It is argued that as collectors, develop in sophistication museums can partially redefine themselves through them. There are a number of areas in which collectors and museums are increasingly overlapping. Museums it is argued, should take advantage of this and the current boom in collecting by valuing collecting in the wider community. This would help museums comply with focused collecting policies and allow staff more time to concentrate on other areas such as community activities. Museums and collectors it is ultimately argued, should converge to form a symbiotic knowledge sharing nexus, thus strengthening and deepening communal bonds, acting as an anchor in a changing and diversifying museum profession and a socially atomised society.
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Landis, Tamra R. "How a Successful Collecting Society Can Transform an Art Museum: A History of The Georgia Welles Apollo Society at the Toledo Museum of Art." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522759729069838.
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Li, Shuai. "Fragments of the prosperous age : living with heritage and treasure in contemporary China." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/282994.
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This thesis studies contemporary China's heritage boom phenomenon as experienced through the everyday lives of antiquarian communities (collectors, antique dealers etc.) and heritage professionals in and around Beijing. Aiming to extend our vision beyond heritage sites and museums, which constitute the traditional subject of anthropological studies of heritage, the thesis explores the ways in which 'heritage' and 'treasure' are lived by wider Chinese urban residents, constituting a total social fact. Challenging the popular assumption made by heritage scholars in which heritage phenomenon is considered a by-product of modernity's tendency to contrast the current progress with the past as a benchmark, this thesis argues that contemporary China's heritage fever is, however, a social symptom of utopian replacement, in which the idea of linear progress promised by modernisation has been challenged by a recent nationwide utopian project of returning to 'the prosperous age' ('shengshi') with its emphasis on cyclical 'rise and fall'. Treasures of China, as 'Fragments of the Prosperous Age', have thus emerged as powerful imaginaries and resources to open up a utopian vision of ideal society based on fantastic imaginations of China's past glories. Foregrounding the relations between heritage and utopianism, the thesis subsequently investigates the complex ways in which heritage activists from state systems and antiquarian communities contribute to the utopian project from different pathways, bifurcating China's heritage phenomenon into formal and informal parts. Chapters one and two demonstrate that state-led imaginings have changed from the evolutionary perspective to one pursuing the glory of the past under the new spell of 'civilisational revival'. Officials and activists associated with formal heritage deploy a variety of discursive and bureaucratic technologies to securitise, manage and utilise China's ancient treasures, so as to legitimise the current regime. On the other hand, Chapters three and four show that collectors associated with informal heritage encounter fragments of the past in a bodily and joyful way. In ordinary antiquarian practices which juxtapose the cultivation of moral self with the patination of antique objects, collectors pursue an archaic yet neoliberal custodianship which has altered the ethics and sense of moral responsibility in the domains of market exchange. These two factions in China's heritage world may differ from each other in many aspects, but Chapter five suggests both of them, in fact, conspire to reproduce ancient 'prosperous age' ('shengshi') in the present and for the future. The thesis concludes with a discussion about the extent to which Hegel's future-oriented conception of 'capitalised History' that structures the writing of national history has transformed into a 'capitalised Heritage' in contemporary China. 'Capitalised Heritage' works to recast the importance of the Chinese nation in the contemporary world, reaching an ultimate reconciliation with the spectre and material legacies of the past.
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Jones, Caroline Elizabeth. "Art and investment a study on how investment in art affects the contemporary artist in South Africa." Thesis, Rhodes University, 1995. http://hdl.handle.net/10962/d1002200.
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Dvořáková, Valérie. "Sběratelství moderního a současného umění v České republice: Jeho charakteristika a vliv na trh s uměním." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-198416.
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The thesis discusses current state of Czech market and trade with contemporary and modern art via the phenomenon of collectables. Major emphasis is given to the specifics of both young contemporary art in the context of collecting and trading, and using art as a form of investment. Theoretical part is derived from the limited present literature and describes basic mechanisms and theoretical processes of the art market. Practical part presents a mixture of statistics of art market parameters and interviews with professionals, and poses very concrete constructive questions in relation to investigation of the real manifestation of these processes. The thesis concludes with demonstrating that neither assumptions based on theory nor foreign common practice can be employed (due to numerous aspects) on the Czech market, which can be described as strongly conservative.
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Evasdotter, Birath Katarina. "Att samla en pandemi : En kvalitativ intervjustudie om svenska museers samtidsdokumentation av vardagslivet under coronapandemin." Thesis, Uppsala universitet, Institutionen för ABM, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446872.
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This thesis focuses on eight Swedish museums, who collected intangible and tangible memories of how everyday life was affected during the first year of the coronavirus pandemic in 2020-2021. These contemporary collecting projects were conducted by Eskilstuna stadsmuseum, Jönköpings läns museum, Klostret i Ystad, Nordiska museet, Skellefteå museum, Stockholms läns museum, Värmlands museum and Västerbottens museum. Through semi-structured qualitative interviews with the museum professionals responsible for the collecting process, the aim was to collect data on how the projects were organised and which collecting methods that were used. Further, the aim was to discuss and analyse the contemporary collecting projects from the theoretical perspectives of cultural memory studies and participatory memory practices. The results of the study show that the museums started the collecting projects in haste when the pandemic broke out and that the main collecting method being used was questionnaires. Other collecting methods, such as interviews, field studies and collecting of photographs, diaries, social media posts and tangible objects, were used as a complement. The museum’s purpose was to reach out as wide as possible with the collecting projects, to collect memories from different social groups in society. In conclusion, the collected materials, the intangible and tangible memories collected from participating individuals, will together take place in cultural memory side by side with documentations of historical events and be of use for future generations. Memories were collected all over Sweden, from people of different age and gender. The projects would not have been possible to conduct without the voluntary participation of people sharing their memories of how everyday life was affected during the coronavirus pandemic. This is a two years master’s thesis in Museum and Cultural Heritage Studies.
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Decker, Aaron. "A collection contemporary short stories /." Diss., Online access via UMI:, 2006.
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Benkass, Zahra. "La collecte de l'objet contemporain au sein de l'écomusée et du musée de société." Phd thesis, Université d'Avignon, 2012. http://tel.archives-ouvertes.fr/tel-00807037.
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La thèse interroge les pratiques mises en œuvre aujourd'hui pour collecter des objets contemporains au sein des écomusées et des musées de société en France. Cette question de la " contemporanéité " connaît un regain d'actualité en muséologie et prête le flanc à la critique dans le paysage des politiques culturelles. Aussi, la première partie constitue le questionnement théorique de la recherche. Elle interroge la situation paradoxale des musées ethnographiques français, dans l'objectif d'examiner la nouvelle orientation des collections, axée sur le " contemporain ". La deuxième partie trace l'évolution dans les orientations, les méthodes et les finalités des politiques d'acquisition. Le corpus de la recherche analyse, dans ce sens, des pratiques de collecte aujourd'hui opérationnelles au sein de trois musées, foncièrement différents de par leur taille, leur implantation géographique et leurs missions : le musée des Civilisations de l'Europe et de la Méditerranée (MUCEM) à Marseille, l'écomusée du Val de Bièvre à Fresnes (Val-de-Marne) et le musée de la ville de Saint-Quentin-en-Yvelines (Yvelines). Enfin, la troisième partie de la thèse présente les résultats de l'étude expérimentale de terrain. D'abord, en examinant le sens du contemporain au sein du musée de société, à travers la représentativité des exemples retenus dans le corpus. Ensuite, en présentant les conséquences de la collecte de l'objet contemporain, tant sur les missions du musée que sur le statut de l'objet. Ces deux entités sont analysées dans le cadre d'un " système signifiant " qui permet au musée de construire un savoir et une connaissance sur l'objet d'aujourd'hui, à partir des notions d'" altérité ", de " document ", de " tri ", de " mémoire " et de " patrimoine ".
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Posada-Olaya, Maria Antonia. "The Power of Collections to Create Place." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/365346.
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This exegesis is an account of how an artist can build a sense of place or a sense of belonging to a particular place through their art-making process. Specifically, it examines how collections or taxonomies have assisted me to understand my sense of belonging, as a native of Colombia dislocated to Australia, in the face of an increasingly dislocated and hybridised world. In arguing that collections make manifest the complex emotional connections people forge with the places they inhabit, I first examine the notion of place. Then I discuss how collections can become dwellings for experiences and memories, and how people also ‘dwell’ in their collections. Gaston Bachelard’s Poetics of space offers a framework to reflect on the tensions between the intimacy of a newly developed sense of home, and the hybrid and foreign public places through which one has to go, and in which one has to dwell after geographical dislocation. Examining how contemporary artists who use collections or taxonomies in their work represent ideas of place, and how the concept of place exists through those collections I present my own ‘collection of collectors’ whose works have informed my studio practice. I conclude by reflecting on the bodies of work that I produced over the course of my research project, and analyse how successful they were in conveying ideas of place and the place-making process.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Queensland College of Art<br>Arts, Education and Law<br>Full Text
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Wertz, Robert George. "The Contemporary Coben Analysis." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/121774.
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Oral Biology<br>M.S.<br>As orthodontics integrates more digital imagery it has become necessary to reconfigure and adapt the Coben analysis. In its original paper-based form, it is exceedingly time consuming. The objective of this project was to: 1.) Create a novel method for analyzing radiographic cephalometric images in a digital manner using the Coben analysis. 2.) Compare the original norms and standard deviations to the measurements taken on today's patients. 3.) Address any changes in the norms due to secular trends. In the present study 279 digital cephalometric radiographs were separated into 3 age groups by sex. The breakdown is as follows: 53 males age 7-10 with a median age of 8.17 years, 43 females age 7-10 with a median age of 8.67 years, 45 males age 11-14 with a median age of 11.58 years, 50 females age 11-14 with a median age of 11.52 years, 41 males age 15-18 with a median age of 16.08 years and 47 females with a median age of 16.33 years. The cephalometric radiographs were digitally traced using Coben analysis standards to compare to the original Coben analysis norms and assess any differences in secular trends. Based on the results collected, the following conclusions were drawn: 1. As evidenced by the larger standard deviations in the current study compared to the original study, more individual variation exists among the facial skeletal components that form a Class I occlusion than previously thought. 2. We recommend 3.8° should be used for the S-N angle mean in males age 11-14 and 2.9° for females age 11-14 as opposed to the 7° suggested by the original study 3. The hand tracing method previously employed uses graph paper with the coordinate system enlarged 8% to compensate for the 8% enlargement of the radiographic film. This is no longer necessary when tracing a digital cephalometric radiograph. 4. The distance from basion to articulare in this study is consistently within one standard deviation of the original study's measurements for males and females. This distance appears stable for research purposes. 5. The Coben analysis linear and proportional measurements need not be adjusted due to the vast array of variables present in any population which include, but are not limited to, variation in comparative sample populations, genetics, polymorphisms, or endocrine disrupting chemicals.<br>Temple University--Theses
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Aldam, Brett. "Contemporary movements, green politics and the logics of collective action : a synthesis /." Title page, contents and abstract only, 1990. http://web4.library.adelaide.edu.au/theses/09AR/09ara357.pdf.
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Williams, Anthony David Henry. "Contemporary pastoral : Sean O'Brien, Peter Didsbury, Michael Hofmann ; and, Original poetry collection." Thesis, Sheffield Hallam University, 2009. http://shura.shu.ac.uk/20544/.
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Landscape reflects and informs the history which shapes it, the society of which it forms a part, and the culture and identity of its inhabitants. An introduction provides a brief survey of contemporary pastoral poetry, identifying two main strands, the Romantic and the social-pastoral traditions. Further chapters discuss the relations between landscape, society, history and identity in the work of Sean O'Brien, Peter Didsbury and Michael Hofmann. Sean O'Brien's poetry depicts 'marginal' post-industrial locations both as the subjects of historical forces and as idyllic; interrogates received English idylls; and substitutes localised idylls based in childhood experiences. Peter Didsbury draws on similar landscapes and a similar sensibility, but shows a more oblique engagement with history and poetic tradition; his treatment of landscape and local identity is also notable for its religious and rhetorical elements; and his creation of pastoral idylls is located resolutely in the contemporary here-and-now. The tenor of Michael Hofmann's work is different: his landscapes are typically dystopian; rather than drawing on a local identity determined by landscape, childhood experience or local culture, his work shows a gap between the idylls and narratives of European high culture and the contemporary world as experienced locally; and his use of temporary homes as locations reflects his style's restless performance of temporary identity. The thesis is accompanied by a creative project consisting of two elements: a collection of shorter poems and an extended sequence. The former develops such themes as the identification of self and culture with a landscape, the religious treatment of place and provincial culture, and the outsider figure as an analogue of the marginal landscape; and such formal features as the Horatian ode, apostrophe, prosaic and metered lineation, and the collision of high rhetoric with prosaic contemporary subject matter. The latter develops various features of the pastoral through the narrative context of an inmate of a lunatic asylum in early twentieth-century Central Europe, drawing on the formal materials of outsider art as well as the content of the thesis.
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Liquois, Dominique. "Travail collectif et arts plastiques dans le mexique contemporain." Paris 3, 1988. http://www.theses.fr/1989PA030009.
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Pendant les annees vingt qui correspondent au mexique a la periode post-revolutionnaire, le processus du travail artistique -depuis la conception de l'oeuvre jusqu'a sa diffusion- est remis en cause. Considerant la nouvelle realite nationale et influences par les theories socialistes, quelques createurs veulent se porter au service du peuple et posent les bases d'un art public, d'un art militant dont une des caracteristiques est le travail en equipe. C'est en heritiers de cette tradition et consciente des problemes culturels propres aux pays en voie de developpement que, cinquante ans plus tard, une centaine de jeunes plasticiens se reunissent pour constituer des groupes de creation collective. D'abord spontane et marginal, le "mouvement des groupes" sera bientot reconnu comme etant le plus representatif de l'art mexicain de cette periode. Il a ete limite dans cette etude a une quinzaine de collectifs aux conceptions theoriques et plastiques tres diverses mais qui tous voient dans le travail en commun une alternative a l'elitisme du milieu artistique et une facon de controler et promouvoir leur propre production<br>Mexico in the twenties is in a post revolutionary period. The creative process, from the conception of the work to its distribution, is reexamined. A few artists, influenced by socialist theories, seek a direct access to the people by grounding their work in the national reality. Their art is public, militant. Its characteristic is that it spurs from collectives of artists. Fifty years later, accutely aware of the cultural problems linked to developing countries, some hundred mexican artists reject the concept of individual creation and form workshops. At first spontaneous and marginal, "the movement of groups" soon grows to be the main representation of mexicain art in the seventies. This study focuses on about fifteen such collectives. Each is different in its theorical and plastic formulations, but all equally strive to distance themselves from elitist positions in order to control the promotion and distribution of their work
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Liquois, Dominique. "Travail collectif et arts plastiques dans le Mexique contemporain." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37615276k.
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Nair, Parvati. "Configuring community : theories, narratives, and practices of community identities in contemporary Spain /." Leeds : Maney publ, 2004. http://catalogue.bnf.fr/ark:/12148/cb392197368.
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Bargue, Elisabeth Evangélie. "Passion(s) dans l'espace public : histoire des collectionneurs et des collections privées d'art contemporain en Grèce au XXe siècle." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010571.
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Cette étude se propose de présenter l'évolution des collections privées d'art contemporain en Grèce au cours du siècle dernier. Malgré la forte présence du phénomène, les études à ce sujet sont rares, surtout concernant la période contemporaine qui est souvent délaissée au profit de l'archéologie et de la période byzantine. Pourtant, le phénomène du collectionnisme est très présent en Grèce et il est étroitement lié à I'histoire politique et sociale du pays, à des phénomènes tels que l'évergétisme, la diaspora et l'essor économique du pays à partir des années quatre-vingts lors de son entrée dans la Communauté Économique Européenne. Ainsi, l'aspect du phénomène se trouve-t-il en constante mutation. L'objectif de cette étude est donc une première approche des divers aspects du collectionnisme, étudié en relation avec l'histoire culturelle du pays, à travers les portraits de nombreux collectionneurs grecs qui ont vécu au XXe siècle. Ces passionnés d'art ont fortement marqué le paysage artistique et culturel de leur pays d'origine - mais aussi parfois de leur pays d'accueil - notamment grâce à la mise en valeur d'artistes et à l'influence du goût, mais surtout parce que leur activité est liée à la constitution de collection de musées de beaux-arts et de fondations privées<br>This study aims to describe the history and situation of the private contemporary art collections in Greece du ring the last century. Despite the strong presence of the phenomenon, studies on this subject are scarce, especially in regard to the contemporary period, which is often neglected in favor of the Archeological and Byzantine period. However, the phenomenon of collecting contemporary art is very present in Greece and it is closely linked to the political and social history, to phenomenas such as benefaction, diaspora and the economic growth of the country, from the eighties upon entry into the European Economic Community. Thus, the appearance of the phenomenon is constantly changing. What is studied here is a first approach to the various aspects of collecting contemporary art in relation to the cultural history of the country, through the portraits of many iconic Greek collectors who lived in the twentieth century. These art lovers have strongly influenced the artistic and cultural landscape of their country of origin - but also sometimes to their home countries - through the discovery of artists and the influence of taste. The latter was achieved especially because their activity was related to the establishment of the permanent collections of fine art museums and private foundations
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Patterson, Arnecia. "Concrete Evidence: A Collection of Poems Versifying the City." Dayton, Ohio : University of Dayton, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1260112007.
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Thesis (M.A. in English) -- University of Dayton.<br>Title from PDF t.p. (viewed 4/12/10). Advisor: Albino Carrillo. Includes bibliographical references (p. 34-36). Available online via the OhioLINK ETD Center.
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Zhang, Yanjing. "Transdisciplinary Practice in the Contemporary Architectural Profession." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20333.
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Transdisciplinary practice blurs disciplinary boundaries and reconstructs patterns of architectural practice. It is also a vigorous paradigm which is shaping practitioners’ philosophy, perspectives, and actions. This thesis explores transdisciplinary practice through the observation of different scales of firms to identify the nature of cross-boundary practice. Their mutually reciprocated intention is to create a mode of omni-collaboration in the architecture profession. The thesis aims to extend the current interpretation of ‘social capital and social practice’ in the architectural profession. Following the booming of free market policies in the majority of the world, the architectural profession has been increasingly challenged by greater complexity and fierce competition for demanding subjects for research and design. The accelerating climate of transdisciplinary practice has become prevalent so that it is no longer a novelty to integrate knowledge and expertise into the collaboration. Whereas many scholars have contributed to the theorisation of the architectural profession, focused study on cross-boundary practice including transdisciplinary research is insufficient. The deficiency of research interests in transdisciplinary practice identified a gap for this thesis to fill in. The case study is the primary method of investigation for this thesis. Selected companies were defined into three categories depending on their scales, namely small and medium enterprises (SMEs), transforming institutions and mega-firms. Comparative studies have been used to analyse discourses and projects, and to discuss the substance of transdisciplinarity. This thesis argues that transdisciplinary practice has restructured the function of the architectural profession, and transforms knowledge, resources and collective intelligence into innovative creativity in the form of social capital.
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Blackwelder, Sara K. "Syncretism in contemporary pagan purification practices." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1370.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Sciences<br>Anthropology
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Berry, Jessica, and n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Berry, Jessica. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365478.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.<br>Thesis (Professional Doctorate)<br>Doctor of Visual Arts (DVA)<br>Queensland College of Art<br>Full Text
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Ellul, Hannah. "Picturing politics : drawing out the histories of collective political action in contemporary art." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20532/.
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This project explores the appropriation of images of political upheaval in contemporary art, with a particular focus on artists who painstakingly draw from photographs. It is a project informed by contemporary debates on the convoluted temporality and performativity of the image, the aesthetic and affective dimensions of political subjectification, and forms of political agency. The drawings of artists including Andrea Bowers, Fernando Bryce and Olivia Plender, discussed here, elaborate a piecemeal, meticulously-drawn iconography of protest. Photographs and documents of emancipatory political struggle from different periods and places are reworked by hand, in acts of salvage. Something like an affective atmosphere is limned in scenes and artefacts that may not have lost their capacity to move but nonetheless seem remote today, the collective political desire and will they evoke overwhelmed by the disconcerting vicissitudes of sociopolitical circumstance. In light of the long and complex histories of art’s engagement with the political, and the many and various modes of reciprocity devised along the way, what does it mean to be preoccupied with images of political action? To ask as much is to begin to address the complex ways in which such images intersect with and shape processes of political identification and affiliation, the emergence of collective subjectivity and the desire for political agency. Moreover, it is to speculate upon how these processes take place in a negotiation with the often obscure histories of collective action, and how such histories inform renewed efforts of political imagination. What attachments or detachment are played out in these drawings? What choreographies of binding and unbinding are traced in these lines?
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Rebane, Gala [Verfasser]. "Re-Making the Italians : Collective Identities in the Contemporary Italian Historical Novel / Gala Rebane." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2012. http://d-nb.info/1042415846/34.
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Schmid, Erica. "Fail Better: The Aesthetics of Contemporary Criticism." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/274890.
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English<br>Ph.D.<br>Though literature and literary study have needed defense for most of their respective histories, the current crisis in academic literary study and the humanities more generally has forced scholars into the uncomfortable position of selling their disciplines and simultaneously warning students about the risks involved in earning what the dominant public considers to be "useless" degrees. The paradox, of course, is that dissuading would-be studiers is both ethical and destructive: it is necessary to inform students of the frightful instability of careers in literary study, but doing so renders such careers even more unstable. While some argue that the decline of the discipline is a result of practices within the discipline, I suggest that the root of the problem lies in the dominant discourse, which forces scholars to defend the discipline according to dominant notions of success. Using Frank Lentricchia's "Last Will and Testament of an Ex-Literary Critic" as a hinge between discussions of the value of literary study and elaborations of the antisocial thesis in queer theory, I contend that the discipline is not socially valued for the same reason it is socially valuable: it facilitates the pleasure of experiencing and envisioning new possibilities in and through the circulation of discourse. Since this aim does not (easily) translate into wealth accumulation or employability, it does not read as "success" and therefore the discipline has difficulty being socially valued. Rather than explaining the various benefits of earning a degree in literature, I argue that the discipline should embrace (its) failure as both a challenge to and re-imagining of dominant notions of success.<br>Temple University--Theses
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El-Herfi, Lina. "La frontière : un espace conflictuel dans l'art contemporain palestinien : la mémoire collective expulsée et l'identité-résilience comme expressions de la Nakba." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010509.
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Cette thèse en arts plastiques s'appuie sur les œuvres d'artistes palestiniens contemporains (Mona Hatoum, Taysir Batnijl, Ruia Halawani, Emily Jacir, Laila Shawa), ainsi que sur une pratique personnelle, pour interroger le concept de frontière. Une telle lecture se fait à travers un événement historique majeur : la Nakba. Elle démontre l'hypothèse selon laquelle l'expulsion des Palestiniens de leurs terres a fait émerger, dans les travaux des artistes, une nouvelle forme de frontière. La première partie présente les différents dispositifs de la frontière (vidéosurveillance. miradors, mur, checkpoints) qui imprègnent la création contemporaine et témoignent d'une souffrance qui laisse sa trace dans le paysage, par l'intermédiaire de la mémoire conçue comme un point d'ancrage dans le passé pour mieux comprendre le présent. La deuxième partie, axée sur la mémoire de la Nakba, que nous appelons « mémoire collective expulsée », permet une relecture de cette frontière du point de vue de l'art - grâce auquel la douleur de l'exilé se transforme en force créatrice. Nous aboutissons ainsi, dans un troisième temps, à l'« identité-résilience» qui traduit, chez les artistes palestiniens, leur survie par l'art à l'issue d'une prise de conscience du déracinement originel lié à la e; noyade» de leur patrie et de ses frontières. La frontière devient une blessure inscrite dans le passé sous laquelle l'histoire, la mémoire et l'identité se stratifient, dessinant les contours de nos propres travaux et des œuvres étudiées. Notre thèse, c'est que la Nakba est une fissure qui s'enracine viscéralement dans l'artiste et évolue avec son œuvre pour donner naissance à la « frontière-diaclase »<br>This PhD dissertation in the field of visual arts builds on the artworks of contemporary Palestinian artists (Mona Hatoum, Taysir Batniji, Ruia Halawani, Emily Jacir, Laila Shawa) as well as on a personal practice, in order to question the border as a concept. The approach chosen draws upon a major historical event: the Nakba. It alms to demonstrate the hypothesis according to which the eviction of Palestinians from their land has allowed their different arts to express a new form of border. Part l exposes the multiple dimensions of the border (video monitoring, watchtowers, wall, checkpoints) which nurture the contemporary creation, while unveiling the trace of a suffering left in the landscape through memory. Memory is conceived as an anchor in the past, for a better understanding of the present. Part II of the dissertation centers on the Nakba as an "expelled collective memory" and provides a retrospective reading of borders, seen through art. By the medium of art, the pain of the exiled becomes his creative power. Hence part III focuses on the "resilience-identity" which expresses the survival of Palestinian artists after a realization of the original uprooting due to the "drowning" of their homeland and its borders. Borders become a wound in the past under which can be found memory, history and identity, which serve the understanding of both my personal work and the pieces studied. The thesis purports to show that the Nakba appears as a fissure deeply rooted in the artist's being and evolving with his work, eventually giving birth to "joint border"
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Gurney, Kim Janette. "The mattering of African contemporary art: value and valuation from the studio to the collection." Thesis, Faculty of Science, 2019. http://hdl.handle.net/11427/30380.
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This interdisciplinary research bridging geography and fine art (‘geo-aesthetics’) follows contemporary artwork journeys from the studio into the public domain to discover how notions of value shift as the artwork travels. It seeks transfigurative nodes and their catalysts to explore how art matters: firstly how it becomes matter in the studio, and then how it comes to matter beyond the studio door. Two case studies at key moments of revaluation, a buy-out and a buy-in, both reveal responses to uncertainty that stress different kinds of collectivity. The first case study follows artistic practice and process in four studios in a Johannesburg atelier to investigate intrinsic value and finds ‘artistic thinking’. The second case study follows the assemblage of a private art collection managed from Cape Town, initially as an art fund, to investigate extrinsic valuation and finds ‘structural thinking’. These different modalities in the production and consumption circuitry of the artworld have unexpected correlations including shared artists and three linking concepts, namely, uncertainty, mobility, and the web. These in turn inform three observations: nested capacity, derivative value, and art as a public good. Two key findings emerge: contemporary art is itself a vector of value that performs meaning as it moves; and public interest is a central characteristic from which other valuations flow. The research uses repeat interviews, site visits and visual methods, which are triangulated with artwork trajectories to surface linkages between space and imagination. It offers a performative theory of value that speaks to an expanded new materialism. Applying an ecological framework allows a final transfiguration for an artworld ecosystem that (re)values contemporary art as part of an undercommons.
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Johansson, Thomas Miegel Fredrik. "Do the right thing : lifestyle and identity in contemporary youth culture /." Stockholm : Almqvist och Wiksell, 1992. http://catalogue.bnf.fr/ark:/12148/cb355880115.
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Porcher, Mathieu. "CAMOLUTION : Contemporary surface pattern expressions in textile design." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-13028.
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Camolution is a project that explores the camouflage pattern in a textile designcontext. The motive is to reinterpret an obsolete concealment function andinstead, to hide and reveal visual textile aspects within the pattern. Theprimary aim of this work is to develop a contemporary camouflage patterncollection of printed and knitted textiles, and to explore the concealmentfunction through visual deceptions. The patterns were developed witha method that uses a selection of rules in colour contrasts,style influences and textile proprieties to design a series of patternexperiments. The final pattern designs were screen printed, digitalprinted and knitted, and applied as garment prototypes. This part wasdone in collaboration with the fashion brand Björn Borg. The result setsout a collection of textiles and clothes connected by three differentconcepts of misled vision. It was found that the camouflage function in thiswork was an efficient tool to advertise the brand symbols within the textiles.This work proposes an alternative design method of using the camouflageconcept in textile design, contributing with new expressions, techniquesand qualities.
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Fernandez, Quintana Anabel. "Le culte de María Lionza au Venezuela contemporain : mémoire collective et politique." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH025.
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Le culte de possession autour de María Lionza connaît une importante phase d’expansion au début du XXème siècle, lorsque des flux migratoires intenses se dirigent non seulement vers les champs d’exploitation pétrolière mais aussi vers les espaces urbains qui, en étant les principaux bénéficiaires du miracle économique entraîné par la découverte de l’ « or noir », s’engagent dans un processus vertigineux de modernisation. Originaire du Centre-Nord du Venezuela, cette dévotion s’est donc consolidée parallèlement à l’essor du modèle économique rentier et de l’édification d’un État centralisé bien décidé à mettre en ouevre un ambitieux programme d’unification nationale dont l’historiographie patriotique, alors largement promue par les pouvoirs publics, était le fil conducteur. Curieusement, les grands symboles de cette cosmogonie républicaine se retrouveront progressivement dans les centres « spirites » marialionceros qui prolifèrent surtout en ville : ainsi, vers la fin des années 1950, de nombreuses figures historiques (comme le cacique Guaicaipuro ou le Libertador Simón Bolívar) s’intègrent peu à peu aux autels de culte, toujours prêts à accueillir de nouvelles entités. Ces personnages, désormais considérés comme des divinités, communiquent directement avec les adeptes par le biais de médiums lors du rituel sacré de la transe. Cette thèse s’interroge sur la nature et le sens des interférences et des possibles chevauchements entre les représentations du passé véhiculées par l’État-nation vénézuélien, et celles mises en avant dans le culte de María Lionza. En explorant les métamorphoses subies par la dévotion depuis le XXème siècle, nous examinerons l’extraordinaire capacité de ce phénomène religieux à récupérer des épisodes précis du passé, depuis la Conquête et les guerres d’indépendance jusqu’à la modernité pétrolière non exempte de contradictions. Dans cette démarche, la notion de « mémoire collective » joue un rôle central, puisque cette réappropriation suppose avant tout la réélaboration, au gré des crises politiques et économiques qui ont secoué le pays, de l’Histoire telle qu’elle se présente dans le discours officiel. À partir d’une enquête de terrain menée dans le lieu de pèlerinage le plus important du culte de María Lionza, la montagne de Sorte (État de Yaracuy, Venezuela), nous décrypterons les trames mémorielles qui s’imbriquent et s’enchevêtrent dans ce culte tout au long des deux derniers siècles tout en réfléchissant sur les nouvelles lectures, parfois tout à fait inattendues, qu’elles offrent du passé commun. À cet effet, nous proposerons d’abord une analyse détaillée de la géographie sacrée de Quibayo (montagne de Sorte), pour montrer comment les représentations d’autres époques qui s’y sédimentent vont de pair avec des périodes de crispation sociale dont les coups et les contrecoups ont marqué différentes générations d’adeptes. Ensuite, nous nous intéresserons à la dimension performative de la mémoire collective, en jetant un regard sur l’une des lignées d’esprit les plus populaires, les Indiens, et sa mise en scène dans le principal rituel de possession collectif, « la danse sur le feu ». Enfin, nous retracerons l’évolution récente du culte dans cette période d’enthousiasme révolutionnaire, et nous mesurerons l’impact du retour en force de l’idéologie nationaliste sur la dévotion<br>The cult of possession around María Lionza experienced a period of growth at the beginning of the twentieth century, when the heavy flow of migrants supplied not only the operation of the oilfields but also the urban spaces which, as the principal beneficiaries of the economic miracle created by the discovery of the “black gold”, underwent a dizzying process of modernization. This devotion to María Lionza, which originated in the north central region of Venezuela, was therefore strengthened in parallel with the rise of the rentier economic model and the erection of a centralised State determined to implement an ambitious programme of national unification in which the patriotic historiography, then broadly promoted by the authorities, was the driving force. Curiously, the great symbols of this republican cosmogony would gradually come to be found in the “spirit” centres (marialionceros) which flourished, especially in cities: thus, in the late 1950s, several historic figures (such as the Chief Guaicaipuro and the Liberator Simón Bolívar) were gradually integrated into the devotional altars, which were always ready to accept new entities. These characters, who came to be seen as divinities, communicate directly with the followers of the cult through mediums during the sacred trance ritual. This thesis examines the nature and sense of the interferences and possible overlaps between the representations of the past transmitted by the Venezuelan nation-state, and those promoted by the cult of María Lionza. Through an exploration of the mutations undergone by this religious devotion in the twentieth century, we examine the extraordinary capacity of this religious phenomenon to retrieve certain episodes of the past, from the Spanish Conquest and the Wars of Independence to the contradictory oil-based modernity. Within this approach, the notion of “collective memory” plays a central role, because this re-appropriation essentially presupposes the re-elaboration, in accordance with the political and economic crises which have shaken the country, of Venezuela’s history as seen in scholarly discourse. Starting with a field survey carried out at the most important pilgrimage site of the cult of María Lionza, the Sorte Mountain (Yaracuy state), we explain the threads of memory which have become intertwined and entangled in the cult over the course of the last two centuries, while offering a consideration of the new, sometimes completely unsuspected readings which they offer of the shared past. For this purpose, we offer firstly a detailed analysis of the sacred geography of Quibayo (Sorte Mountain) to demonstrate how the collected representations of previous times work in tandem with the historical periods of social tension whose coups and countercoups marked different generations of devotees. We then turn to the performative dimension of collective memory, by focusing on one of the most popular spiritual approaches, that of the Indians, and their staging of the principal ritual of collective possession, the “dance over coals”. Finally, we trace the recent development of the cult in this period of revolutionary fervour, and measure the impact of the powerful return of a nationalist ideology on this religious devotion
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Fabriol, Anaïs. "La littérature frontalière contemporaine mexicaine, l'exemple de la Basse Californie (de 1970 à nos jours)." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030130.
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Les dernières décennies du XXe siècle et la première du XXIe sont capitales dans la redéfinition culturelle de l’identité frontalière mexicaine. De fait, elles cristallisent la plupart des grands symboles postmodernes : la fin des idéologies nationalistes, l’essor d’une culture industrielle de masse, la déconstruction de la relation antérieure entre le Mexique et les Etats-Unis. La littérature semble y atteindre une nouvelle définition de l’identité, de l’espace, de l’Histoire et de la construction narrative. Dans cette perspective, la production littéraire de Basse-Californie est un bon exemple : bien séparée du monde culturel de Mexico, elle a construit un système de valeurs et un réseau éditorial dédiés à la frontière et à son univers. Ce travail vise avant tout à cartographier et définir les grands aspects de la création littéraire de ces quarante dernières années en Basse-Californie<br>The last decades of the XXth century and the first of the XXIth are of paramount importance in the cultural definition of the Mexican borderland identity. Actually, they epitomize most of the central postmodern symbols: the end of the nationalist ideologies, the rise of a massive industrial culture, the deconstruction of the former relationship between Mexico and the USA. The literature seems to reach a new definition of identity, space, History and storytelling. In this perspective, Baja California’s writing production is quite a good sample: well-separated from Mexico City’s cultural world, it has built an internal system of values and a publishing network of its own, dedicated to the border and its universe. This work intends to map out and define the main aspects of Baja California’s last forty years of literary creation
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Challis, John David. "'The Knowledge', a collection of poetry, and, The poem noir : film noir in contemporary poetry." Thesis, University of Newcastle upon Tyne, 2015. http://hdl.handle.net/10443/3072.
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This thesis consists of a collection of poetry, The Knowledge, and the first critical investigation into the ‘poem noir’, an unidentified and unexplored mode within contemporary poetry that exhibits thematic and visual echoes from the body of films known as film noir. Taking its title from the London taxi driver’s rigorous examination, The Knowledge’s key theme is displacement: from social class, education and from a sense of home. It echoes the quest of the doomed film noir protagonist, who, in a thirst for knowledge, is drawn into a psychological descent into a metaphorical underworld. Like the poems noir analysed in the critical section, these possess an anxious, pessimistic and obsessive engagement with the world, and are set within noirish locales to excavate the autobiographical and the imaginative. Inspired by film noir’s portrayal of individuals whose identity is called into conflict, the poems take the lid off the works of memory and place, to examine a personal and public moral compass, and to dramatize the past and the present. After providing a definition of film noir, the critical section outlines a model for reading a poem noir by analysing a selection of seminal American films noir of the classic 1941 to 1958 period, along with several neo-noir films produced from the 1970s onwards. It then provides close readings of Paul Muldoon’s hard-boiled Chandleresque poem, ‘Immram’ (1980), Deryn Rees-Jones’ book-length murder-mystery poem, Quiver (2004), and David Harsent’s nightmarish labyrinthine poem, ‘Elsewhere’ (2011), and introduces them as poems noir. In conclusion I consider how writing poetry is a noirish act, sharing a similarity with Seamus Heaney’s notion that the role of writing poetry is to unearth revelations about the self, and with Henrik Gustafsson’s thesis that film noir is concerned with taking the lid off the works to expose whatever truth lies beneath.
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Cesare, Nicole L. "Intricate Fictions: Cartography and the Contemporary African Novel." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/255972.
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English<br>Ph.D.<br>Intricate Fictions: Cartography and the Contemporary African Novel examines the relationship between narrative and mapping practices in recent African novels. Considering the continent's well-documented history as a site of cartographical projection, I ask how its literary output remaps this space in the years following colonial rule. This project responds to calls for increased attentiveness to space in African literature, employing an interdisciplinary methodology that puts critical cartography into conversation with African literary criticism and globalization studies. I trace a trajectory from post-independence novels writing against colonial depictions of the continent to contemporary novels interested in engaging the instability concomitant with globalization and its attendant diasporas, migrations, and challenges to epistemological categories such as the nation. These novels develop what I term dynamic cartography, a mode of space-writing characterized by fluidity, disjunction, and mobility. This study brings to the fore a corpus of works that embody the spatial tensions of the contemporary era, raising provocative questions about our metageographical and cartographical tendencies. As absolute frameworks of time and space give way, new modes of space-writing continue to blur the boundaries between the map and the novel, offering further avenues of analysis. Ultimately, I pursue these avenues in order to contend that as global space becomes increasingly dynamic, so too do the genres that represent that global space. Contemporary African novels, composed with a profound awareness of geographical transformation, are thus also positioned at the forefront of generic transformation.<br>Temple University--Theses
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Provencher, St-Pierre Laurence. "La collecte de l'objet contemporain : l'exemple du Musée de la civilisation de Québec." Master's thesis, Université Laval, 2012. http://hdl.handle.net/20.500.11794/23659.
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Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2012-2013.<br>Ce mémoire porte sur la collecte des objets contemporains en contexte muséal. En étudiant l'exemple du Musée de la civilisation, cette recherche pose un regard sur les pratiques entourant la collecte du contemporain dans cette institution, de son ouverture en 1988 à aujourd'hui, et fait ressortir les différentes étapes qui permettent à l'objet récent d'acquérir le statut d'objet de musée. Après sa sélection, sa documentation, son acquisition ainsi que sa prise en charge permettant sa conservation à long terme, l'objet contemporain intègre la collection nationale. Bien que son parcours soit similaire à celui traversé par les objets plus anciens, il s'en distingue par les enjeux et les limites inhérentes à sa collecte, l'objectif du Musée étant d'encourager son acquisition afin de constituer des collections qui représenteront demain la société d'aujourd'hui. En faisant ressortir le processus d'intégration des objets à la collection, cette étude met également en lumière le rôle des conservateurs dans le développement des collections muséales.
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Shiel, Erin Patricia. "Breathing in art, breathing out poetry: Contemporary Australian art and artists as a source of inspiration for a collection of ekphrastic poems." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15995.
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During the course of this Master of Arts (Research) program, I have written The Spirits of Birds, a collection of thirty-five ekphrastic poems relating to contemporary Australian art. The exegesis relating to this poetry collection is the result of my research and reflection on the process of writing these poems. At the outset, my writing responded to artworks viewed in galleries, in books and online. Following the initial writing period, I approached a number of artists and asked if I could interview them about their sources of inspiration and creative processes. Six artists agreed to be interviewed. The transcripts of these interviews were used in the writing of further poetry. The interviews also provided an insight into the creative processes of artists and how this might relate to the writing of poetry. The exegesis explores this process of writing. It also examines the nature of ekphrasis, how this has changed historically and the type of ekphrastic poetry I have written in the poetry collection. In analysing the poems and how they related to the artworks and artists, I found there were four ways in which I was responding to the artworks: connecting to a symbolic device in the artwork, exploring the inspiration or creative process of the artist, drawing out a life experience or imagined narrative through the artwork and echoing the visual appearance of the artwork in the form of the poem. My exegesis considers these different forms and draws some links between the creative processes of the artists interviewed and the writing of poetry.
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Nathanson, Shelby. "Bite Me: Sadomasochistic Gender Relations in Contemporary Vampire Literature." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1629.
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While the term sadomasochism might conjure cursory images of whips, chains, and leather-clad fetishists, this thesis delves deeper into sadomasochistic theory to analyze dynamics of power and powerlessness represented by a chosen sample of literary relationships. Using two contemporary works of vampire literature—Anne Rice's novel Interview with the Vampire and Stephenie Meyer's Twilight series—I examine how power is structured by and between male and female characters (and vampires and humans), and particularly emphasize the patriarchal messages these works' regressive sexual politics engender. Psychoanalysis and feminist theory are employed to support my overarching argument following the gendered dynamics of male sadism and female masochism (and vampire sadism and human masochism), as this dyad reflects men's and women's "normalized" roles of power and powerlessness, respectively, in today's society. Sadomasochistic relationships as depicted in this literature are created through mutual contracts or, what I refer to as, sociocultural sadomasochism to reflect the gendered power imbalances inherent in patriarchy. By concluding with readers' responses to these franchises, this thesis further attempts to determine why such unequal and oppressive relationships are desirable. Since vampires as Gothic figures embody what specific cultures dread yet desire, this literature possesses frightening implications—gender roles are conservative and masculinity is privileged in fiction and, by extension, in twenty-first-century American culture.<br>B.A.<br>Bachelors<br>English<br>Arts and Humanities
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Sonntag, Albrecht. "Entre jeu universel et enjeu national : le football contemporain." Nantes, 2004. http://www.theses.fr/2004NANT3004.
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Sport universel s'il en est, le football se prête en même temps à l'expression massive des identités et des appartenances. Il s'inscrit ainsi dans la dialectique entre uniformisation des pratiques culturelles (convergence) et ré-affirmation des singularités locales et nationales (divergence). Vecteur de cohésion sociale, notamment sur le niveau national, le football s'avère ainsi être un terrain fertile pour la construction des croyances collectives, tels les "styles nationaux". A travers les équipes nationales et leur positionnement idéologique - directement opposé à la transnationalité post-moderne des grands clubs dominée par des intérêts commerciaux - il se nourrit de notions de pureté, de désintéressement et de sacré. Que ce soit par la compétition internationale ou par l'organisation d'une Coupe du monde, le football exerce une influence sur le jeu complexe des perceptions et auto-perceptions entre nations. Son immense popularité traduit un fort désir de communauté, et contribue, avec l'aide du travail pédagogique effectué par les mass médias, à la re-nationalisation des masses à l'ère prétendument post-nationale de la globalisation<br>International football is both the most universal of all games and a fertile ground for the massive expression of feelings of identity. It is thus part of the dialectic between the uniformisation of cultural activities (convergence) and re-insistance on local and national specificities (divergence), which characterises the contemporary globalisation process. As a vector of social cohesion, especially on the national level, football reveals itself to be an efficient producer of collective beliefs, such as the so-called "national styles". Through the national teams and their ideological positioning which seems directly opposed to the transnationality of contemporary club football, it creates a myth of a seemingly pure and sacred activity. Both by international competition and by the organisation of the World Cup, football exerts an influence on the complex interaction of perceptions and self-perceptions between the nations. Its immense popularity is an expression of a deep desire for community and contributes, with the support of the mass media, to the re-nationalisation of the masses in the supposedly post-national era of globalisation
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Evans, Taylor. "Genetic Engineering as Literary Praxis: A Study in Contemporary Literature." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5200.
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This thesis considers the understudied issue of genetic engineering as it has been deployed in the literature of the late 20th century. With reference to the concept of the enlightened gender hybridity of Cyborg theory and an eye to ecocritical implications, I read four texts: Joan Slonczewski's 1986 science fiction novel A Door Into Ocean, Octavia Butler's science fiction trilogy Lilith's Brood – originally released between 1987 and 1989 as Xenogenesis – Simon Mawer's 1997 literary novel Mendel's Dwarf, and the first two books in Margaret Atwood's speculative fiction MaddAddam series: 2003's Oryx and Crake and 2009's The Year Of the Flood. I argue that the inclusion of genetic engineering has changed as the technology moves from science fiction to science fact, moving from the fantastic to the mundane. Throughout its recent literary history, genetic engineering has played a role in complicating questions of sexuality, paternity, and the division between nature and culture. It has also come to represent a nexus of potential cultural change, one which stands to fulfill the dramatic hybridity Haraway rhapsodized in her “Cyborg Manifesto” while also containing the potential to disrupt the ecocritical conversation by destroying what we used to understand as nature. Despite their four different takes on the issue, each of the texts I read offers a complex vision of utopian hopes and apocalyptic fears. They agree that, for better or for worse, genetic engineering is forever changing both our world and ourselves.<br>ID: 031001413; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: James Campbell.; Title from PDF title page (viewed June 14, 2013).; Thesis (M.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 180-187).<br>M.A.<br>Masters<br>English<br>Arts and Humanities<br>English; Literary, Cultural, and Textual Studies
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Sanders, Sophie. "SPIRITED PATTERN AND DECORATION IN CONTEMPORARY BLACK ATLANTIC ART." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/238756.
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Art History<br>Ph.D.<br>This dissertation investigates aesthetics of African design and decoration in the work of major contemporary artists of African descent who address heritage, history, and life experience. My project focuses on the work of three representative contemporary artists, African American artists Kehinde Wiley and Nick Cave, and Ghanaian artist El Anatsui. Their work represents practices and tendencies among a much broader group of painters and sculptors who employ elaborate textures and designs to express drama and emotion throughout the Black Atlantic world. I argue that extensive patterning, embellishment, and ornamentation are employed by many contemporary artists of African descent as a strategy for reinterpreting the art historical canon and addressing critical social issues, such as war, devastation of the earth's environment, and lack of essential resources for survival in many parts of the world. Many artworks also present historical revisions that reflect the experience of Black peoples who were brought to the Americas through the transatlantic slave trade, lived under colonial rule, or witnessed aspects of post-colonial struggle. The disorderliness of intersecting designs could also symbolize gaps in memory and traumas that will not heal. They reflect the manner in which Black Atlantic peoples have pieced together ancestral histories from a patchwork of sources. Polyrhythmic decoration enables their work to act as vessels of experience, allowing viewers to bring together multiple histories and social references.<br>Temple University--Theses
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Brod, Heather Christine. "Colorist art, contemporary Russian art, and Neue Slowenische Kunst in the collection of Neil K. Rector." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210265694.
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Lourenço, Marta C. "Between two worlds the distinct nature and contemporary significance of university museums and collections in Europe /." [S.l. : s.n.], 2005. http://correio.fc.ul.pt/~martal/.
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