Dissertations / Theses: 'Contemporarya'

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Masiero, Valentina <1989&gt. "Contemporary Love - panoramica sull'arte erotica giapponese contemporanea." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/7535.

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L'elaborato si propone di presentare l'arte erotica giapponese contemporanea con l'intento di tracciarne un profilo tecnico e tematico. La ricerca contestualizza lo sviluppo dell'arte erotica a partire dagli shunga di periodo Edo fino i giorni nostri per comprenderne le sfumature, i collegamenti e la simbologia ricorrente, cercando di esplicitare i motivi di tali eventuali riprese, senza tralasciare la componente sociale. L'approfondimento si situa all'interno degli studi artistici e cerca di estrapolare dal calderone della definizione “arte erotica” varie tipologie di produzioni nei sottoinsiemi di fotografia, manga, architettura e danza. L'incipit si occupa di introdurre il lettore al mondo degli shunga e della fruizione di questi ultimi. Il sentiero prosegue poi verso i primi anni del Novecento e profila lo sviluppo delle tecniche artistiche e l'introduzione di nuove tematiche in relazione al cambiamento della figura femminile all'interno della società. Segue poi una terza parte incentrata nelle produzioni di fotografia ed illustrazione dagli anni Sessanta ad oggi, che tratterà nello specifico la simbologia esplicita ed implicita all'interno delle opere. L'indagine approda, infine, all'analisi di alcune collaborazioni fra più campi artistici e sfocia nell'attuale pervasività della “commercializzazione” dei corpi e dei sentimenti.

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POLA, FRANCESCA. "MITICO PLASTICO MAGICO. Italia e Germania 1918-1925. Episodi e figure di un dialogo artistico." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/218.

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La ricerca ha individuato come elemento specifico d'interesse la ricostruzione storico-critica delle relazioni artistiche tra Italia e Germania, nel periodo compreso tra il 1918 e il 1925, nel corso del quale sono stati riscontrati gli episodi più rilevanti e i momenti originanti di sviluppi significativi per gli artisti, i galleristi e gli intellettuali coinvolti in queste relazioni. La ricostruzione storica delle vicende espositive, bibliografiche, documentarie, che hanno costituito il tessuto attraverso il quale si sono sviluppati e intrecciati i percorsi dei due ambiti culturali, è stata arricchita dall'individuazione e dall'approfondimento di alcuni aspetti e tematiche che si sono riconosciuti come ricorrenti e fondanti il dialogo artistico tra Italia e Germania nel corso del periodo preso in esame. Il primo capitolo si concentra sul quadro di riferimento storico-critico e sulle figure di mediatori che ne hanno permesso gli scambi, mentre il secondo sull'ambito delle relazioni tra Valori Plastici e la Germania. Il terzo capitolo ricostruisce le vicende di alcuni artisti tedeschi che nel periodo in questione soggiornano in Italia (Georg Schrimpf, Carlo Mense, Alexander Kanoldt, Christian Schad). L'ultimo capitolo accenna invece ad alcune ipotesi di analisi comparativa, che testimoniano del comune terreno di ricerca.
This research has been considering as a specific element of interest the historical-critical reconstruction of the artistic relationships between Italy and Germany in the period 1918-1925. During these years, it has recognized the most relevant episodes and the originating moments for meaningful developments in the following decades, for artists, galleries, intellectuals involved in these relationships. The historical reconstruction of exhibitions, publications, documents, which determined the environment for the courses of the two cultural surroundings to develop and intertwine, has been enriched by the identification and study of some aspects and themes recognized as recurring and founding for the artistic dialogue between Italy and Germany in the analyzed period. The first chapter focuses on the historical-critical frame of reference and on the figures of mediators who allowed these exchanges, while the second concentrates on the relationships between Valori Plastici and Germany. The third chapter reconstructs the Italian stays of some German artist who reside in Italy during this period (Georg Schrimpf, Carlo Mense, Alexander Kanoldt, Christian Schad). The last chapter proposes some hypotheses for comparative analysis, that testify the common ground of research.

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POLA, FRANCESCA. "MITICO PLASTICO MAGICO. Italia e Germania 1918-1925. Episodi e figure di un dialogo artistico." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/218.

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La ricerca ha individuato come elemento specifico d'interesse la ricostruzione storico-critica delle relazioni artistiche tra Italia e Germania, nel periodo compreso tra il 1918 e il 1925, nel corso del quale sono stati riscontrati gli episodi più rilevanti e i momenti originanti di sviluppi significativi per gli artisti, i galleristi e gli intellettuali coinvolti in queste relazioni. La ricostruzione storica delle vicende espositive, bibliografiche, documentarie, che hanno costituito il tessuto attraverso il quale si sono sviluppati e intrecciati i percorsi dei due ambiti culturali, è stata arricchita dall'individuazione e dall'approfondimento di alcuni aspetti e tematiche che si sono riconosciuti come ricorrenti e fondanti il dialogo artistico tra Italia e Germania nel corso del periodo preso in esame. Il primo capitolo si concentra sul quadro di riferimento storico-critico e sulle figure di mediatori che ne hanno permesso gli scambi, mentre il secondo sull'ambito delle relazioni tra Valori Plastici e la Germania. Il terzo capitolo ricostruisce le vicende di alcuni artisti tedeschi che nel periodo in questione soggiornano in Italia (Georg Schrimpf, Carlo Mense, Alexander Kanoldt, Christian Schad). L'ultimo capitolo accenna invece ad alcune ipotesi di analisi comparativa, che testimoniano del comune terreno di ricerca.
This research has been considering as a specific element of interest the historical-critical reconstruction of the artistic relationships between Italy and Germany in the period 1918-1925. During these years, it has recognized the most relevant episodes and the originating moments for meaningful developments in the following decades, for artists, galleries, intellectuals involved in these relationships. The historical reconstruction of exhibitions, publications, documents, which determined the environment for the courses of the two cultural surroundings to develop and intertwine, has been enriched by the identification and study of some aspects and themes recognized as recurring and founding for the artistic dialogue between Italy and Germany in the analyzed period. The first chapter focuses on the historical-critical frame of reference and on the figures of mediators who allowed these exchanges, while the second concentrates on the relationships between Valori Plastici and Germany. The third chapter reconstructs the Italian stays of some German artist who reside in Italy during this period (Georg Schrimpf, Carlo Mense, Alexander Kanoldt, Christian Schad). The last chapter proposes some hypotheses for comparative analysis, that testify the common ground of research.

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CODIGNOLA, FEDERICA. "Mercato dell'arte e prodotto artistico contemporaneo." Doctoral thesis, Università degli Studi di Milano - Bicocca, 2006. http://hdl.handle.net/10281/46013.

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The author agrees with the current hypothesis, namely, that the contemporary art market can be examined from an economic perspective, by using analytical instruments that are typical of the management and marketing sciences. It is a fact that the evolution of the artist-as-artisan towards the artist-as-creator is based upon the concept of the non-retribution of the creative act. (The latter is described as the artist's intimate expression.) This fact, however, does not prevent the result of such a creative act from becoming the object of a monetary exchange and being assigned a price tag. The author then accepts that, when compared to other products, the artistic product is unique due to the subjectivity of its value. In this framework, she examines the laws regulating the contemporary art market and the behavioral patterns of its actors -- the creative, production, and exchange levels, the promotion of the artists' activity, the networks of often conflicting individuals and institutions. Still, she is well aware that, far from being stable, the contemporary art market is still deeply influenced by evolving mechanisms that aim towards an overall simplification. The typical features of the contemporary art market significantly enrich the scope of the management and marketing sciences. Their analytical instruments, however, remain of fundamental value even for the contemporary art market, in spite of the fact that they normally take for granted homogeneous market conditions which are not so in the contemporary market. The author concludes that any examination of the contemporary art market must focus on its special features and be wary of concepts and frameworks normally used for manufactured products (efficacy, competition, well-being). According to the authors, these special features are the results of values and criteria that are peculiar but not irrational, of subjective but not arbitrary judgments, and of irregular but non incomprehensible dynamics. The author also examines how globalization influences the contemporary art market. She singles out phenomena such as democratization, superimposition, enlargement, and approximation as the more evident results of such an interaction. By well using the analytical instruments of the management and marketing sciences, the author shows the innovative dimensions of the contemporary art market and identifies its institutional and organizational needs. Finally, the author points to the ways in which the contemporary art market tries to enlarge its scope by reaching out to new consumers.

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Castellini, Luisa. "L'opera d'arte contemporanea sacra nella cultura dell'occidente cristiano." Doctoral thesis, Università di Catania, 2012. http://hdl.handle.net/10761/1193.

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La ricerca si muove dalla irriducibile polisemia del sacro. All'interno di questo, l'indagine si sviluppa per verificare le premesse ontologiche necessarie per riconoscerne autenticamente l'essere medium tra l'uomo e il divino. Tale funzione si attua sui medesimi segmenti nei quali si attiva l'opera d'arte intesa come evento della verità. All'interno di una ricognizione del panorama artistico contemporaneo volta a rintracciare la presenza del sacro e nel seguire le premesse e gli sviluppi del mutamento da un regime di ostensione a uno di esposizione, si va chiarendo l'essenza dell'opera d'arte sacra che quindi viene condotta ad analisi nel suo creare uno spazio-tempo specifico, nel suo anelito al divino inteso come possibile e nella sua funzione epifanica.

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NAPOLITANO, PAOLA. "Nella Berther: edizione e studio dei diari inediti." Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/384.

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NAPOLITANO, PAOLA. "Nella Berther: edizione e studio dei diari inediti." Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/384.

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Masseroni, Andrea. "La religione di Mussolini. Fascismo, politica e religione negli scritti e nei discorsi." Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/86047.

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Da qualche anno a questa parte, la figura di Benito Mussolini è tornata violentemente alla ribalta della cronaca, al punto che il quotidiano "Il tempo" ritenne opportuno dedicargli la prima pagina dell’edizione del 30 dicembre 2017 definendolo «L’uomo dell’anno». Oltre che nella cinematografia, la figura di Mussolini ritorna sulla carta stampata, anche in merito al suo sentimento religioso. Insieme a Mussolini, anche il ruolo del fascismo nella società italiana – e non soltanto – è tornato a presenziare fra forze politiche che intendono rifarsi – più o meno coscientemente – ad una ideologia e ai motti fascisti (pseudo-mussoliniani), fra personaggi della politica rivestiti di incarichi istituzionali che elogiano tanto il fascismo quanto la stessa figura di Mussolini e, non può stupire a questo punto, anche fra gli eventi della cronaca pressoché quotidiana. Che si possa parlare lecitamente o illecitamente di ritorno del fascismo è un dibattito ancora aperto; è tuttavia innegabile che qualcosa stia succedendo in seno alla democrazia repubblicana italiana. [...]

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Menti, Daiana. "L’Italia fuori d’Italia: il cattolicesimo veicolo dell’identità nazionale nell’ottica del fascismo. Compromessi e punti fermi dall’archivio di p. Pietro Tacchi Venturi S.I. (1923-1929)." Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/86049.

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[...] Lo studio dei 2210 fascicoli consultabili della sola serie Affari (su un totale di 2697) ha messo in luce un complesso intreccio di questioni in cui Tacchi Venturi fu coinvolto in veste di intermediario ufficioso fra Santa Sede e governo fascista. Si tratta di numerosi incarichi estremamente diversificati per materia (peraltro chiaramente indicata sulla camicia dei singoli fascicoli secondo un ordine messo a punto dal gesuita stesso), che costrinsero Tacchi Venturi a muoversi non solo fra il pontefice, la Segreteria di Stato e il capo del governo, ma soprattutto fra i diversi ministeri di volta in volta competenti, le Congregazioni, nonché singole personalità sia della sfera ecclesiastica che politico-istituzionale. Ciò che emerge dallo studio di questo fondo archivistico è un attivismo non comune [...]

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Ferraz, Vidal Junior Icaro. "Présence et représentation de l’analité dans l’Art contemporain." Doctoral thesis, Università degli studi di Bergamo, 2018. http://hdl.handle.net/10446/130058.

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This thesis offers an analysis of the presence and representations of anality in contemporary art. The works analyzed here are grouped around three central axes: the first one investigates the relationship between sex and politics, the second is dedicated to the links between excretion and the industrial production system, the third one proposes a link between eroticism and ecology. In the first axis, we propose a path that goes through the relationship between matriarchy and patriarchy and comes to contemporary queer theory. In this context, we study the artistic and activist pornterrorist production. The second axis takes up the historical process of sanitizing cities and the Freudian formulations on the anal character to create a context for the analysis of works by Piero Manzoni, Wim Delvoye, Paul McCarthy and Andres Serrano. The last axis tries to create resonances between the philosophy of Gilbert Simondon, The solar anus, a short essay by Georges Bataille, the pictorial production by Jakub Julian Ziolkowski and the video Cooking, by Tunga, based on Simondon’s concept of order of magnitude, from which we try to unravel the relationships of the anus with the cosmos in contemporary artistic production.

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Bishaj, Arbora. "La dimensione internazionale del nazionalismo: le istituzioni internazionali nella formazione dello Stato albanese (1908-1918)." Doctoral thesis, Scuola Normale Superiore, 2018. http://hdl.handle.net/11384/86061.

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Zuckerman, Lola, and Layla Zami. "Contemporary PerforMemory." Doctoral thesis, Humboldt-Universität zu Berlin, 2018. http://dx.doi.org/10.18452/18656.

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Die Dissertation von L. Zuckerman (auch bekannt als Layla Zami) erforscht die Wechselbeziehungen zwischen Erinnerung, Bewegung, Diaspora und Zeit/Raum in Tanzproduktionen des 21. Jahrhunderts. In einer innovativen transkulturellen, transdisziplinären und transtemporalen Perspektive setzt die Publikation den Akzent auf die Solo-Arbeiten von sieben zeitgenössischen Choreograph_innen, die in Deutschland, Frankreich, Taiwan, Martinique, Palästina und den USA leben, und Interpret_innen ihrer eigenen Stücke sind. Ausgehend von der Hypothese, dass Körper eine zentrale Rolle in der Aushandlung und Überwindung von Machtverhältnissen spielen, fragt die Forschung was geschehen kann, wenn tanzende Körper die Vergangenheit in die Gegenwart transportieren, im materiellen und im metaphorischen Sinne. Die Autorin leitet ein neues Konzept ein, das im Englischen sowohl Substantiv als auch Verb ist: (to) perforMemory. Sie reflektiert die Besonderheiten der Ausdruckform Tanz in der Darstellung, Herstellung, und Tradierung von kultureller Erinnerung im Bezug auf historische Traumata wie der Holocaust, der Transatlantische Sklavenhandel, die Maafa, die Nakba und zeitgenössische gesellschaftspolitische Herausforderungen. Das als Spirale konzipierte Buch lädt zu einer Wanderung durch diasporische Tanz_schaften, in denen sich Fragestellungen zu Identität, Körperlichkeit, Zugehörigkeit, Räumlichkeit und Zeitlichkeit entfalten, und sich in der Diskussion von bestimmten Tanzsequenzen wechselseitig beleuchten. Die Doktorarbeit basiert auf den Ergebnissen einer vierjährigen internationalen Forschung. Die Quellen schöpfen aus unterschiedlichen Fachrichtungen, u.a. Gender und Queer Studies, Tanz/Performance, Kulturwissenschaften, Erinnerung, Postkoloniale Studien, Literatur, Quantenphysik, und Lyrik. Die Veröffentlichung beinhaltet ebenfalls die vollständigen Transkripte von persönlichen Gesprächen, die die Autorin mit den Künstler_innen Oxana Chi, Zufit Simon, Wan-Chao Chang, André M. Zachery, Farah Saleh, Christiane Emmanuel und Chantal Loïal aufgenommen hat, sowie Links zu Performance-Ausschnitten.
The dissertation by L. Zuckerman (aka Layla Zami) explores the interrelations and interactions between memory, movement, diaspora, and spacetime in 21st century dance productions. In an innovative transcultural, transdisciplinary and transtemporal approach, the publication focuses on solo works by seven contemporary dancers-choreographers based in Germany, France, Taiwan, Martinique, Palestine and the USA. Contending that corporeality is a site and a source of power, the research asks what happens when moving bodies propel the past into the present, metaphorically and materially. The author introduces a new concept: (to) perforMemory, which is both a noun and a verb, and discusses the specificity of dance in the production and transmission of cultural memory in relation to historical trauma such as the Holocaust, the Transatlantic Slave Trade, Maafa, the Nakba and contemporary sociopolitical challenges. Conceived in a spiral-like fashion, the book takes the reader through diasporic dancescapes in which notions of identity, home, embodiment, spatiality and temporality unfold and are brought into resonance with each other in the discussion of specific dance examples. The theoretical references connect such various fields as gender studies, dance and performance studies, cultural memory studies, postcolonial studies, literature, quantum physics, queer studies and poetry. Based on doctoral research conducted across the globe from 2013 to 2017, the electronic publication also features the full interview transcripts of personal conversations recorded by the author with the artists Oxana Chi, Zufit Simon, Wan-Chao Chang, André M. Zachery, Farah Saleh, Christiane Emmanuel and Chantal Loïal, as well as links to audiovisual performance excerpts.
La thèse explore les interrelations et interactions entre mémoire, mouvement, diaspora et espace-temps dans la danse au XXIème siècle. Dans une approche transculturelle, transdisciplinaire et transtemporelle, la publication se concentre sur des pièces solo chorégraphiées et interprétées par sept chorégraphes contemporain.e.s basé.e.s en Allemagne, France, Martinique, Palestine, à Taiwan et aux Etats-Unis. Estimant que les corps humains sont objets et sujets de relations de pouvoir, la thèse étudie ce qui se passe lorsque les corps dansent le passé au temps présent, au sens propre et au sens figuré. L'auteure introduit un nouveau concept: (to) perforMemory, à la fois un substantif et un verbe en anglais. Elle met en relief la spécificité de la danse comme forme de production et transmission de la mémoire culturelle, en relation avec des traumas historiques tels que l'Holocauste, la Traite triangulaire ou Maafa, la Nakba ainsi que des défis sociopolitiques contemporains. Conçu comme une spirale, le livre est une invitation au voyage à travers des paysages diasporiques dansés, dans lequel les notions d'identité, d'appartenance, de spatialité, de temporalité et de représentation émergent tour à tour, et s'illuminent mutuellement dans l'analyse de séquences de danse concrètes. Le corpus théorique puise dans des domaines aussi variés que les études de genre, la danse, les études postcoloniales, la litérature, les Cultural Studies, la physique quantique, les études queer et la poésie. Basée sur des recherches doctorales conduites de 2013 à 2017 à travers le monde, cette publication électronique comprend également les transcriptions intégrales des entretiens personnels menés avec les artistes Oxana Chi, Zufit Simon, Chantal Loïal, Christiane Emmanuel, Farah Saleh, Wan-Chao Chang, et André M. Zachery, ainsi que des liens vers des extraits audiovisuels de spectacles.

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VEYSI, MOHSEN. "Kunstwollen: una visione contemporanea locale, globale, transculturale." Doctoral thesis, Università degli studi di Modena e Reggio Emilia, 2020. http://hdl.handle.net/11380/1200421.

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Il grande impatto di Alois Riegl sulla storia dell'arte è innegabile. Ha influenzato molti storici e teorici dell'arte da Erwin Panofsky, Wilhelm Worringer, Walter Benjamin, Ernst Kris, Ernst Gombrich, Gilles Deleuze, Karl Mannheim ... al premio Nobel Dr. Eric Kandel. Il carattere cosmopolita di Riegl e i suoi punti di vista estetici liberali insieme alle sue convinzioni sull'uguaglianza di tutte le forme d'arte (pittura, disegno, scultura, architettura, artigianato ...) e a giudicare l'arte di ogni epoca in base a fatti e figure che rappresentano il Kunstwollen (arte + volontà) di quel periodo, lo rende uno studioso eccezionale che era molto più avanti del suo tempo e più vicino alla nostra era. Uno storico dell'arte contemporanea apparteneva alla Vienna del 1900. Il primo capitolo, quindi, è stato dedicato ad Alois Riegl e al suo metodo storiografico e ai suoi concetti chiave come Kunstwollen e il ruolo dell'osservatore. I contenuti di questo capitolo fanno parte del mio libro Who the hell is Alois Riegl and what are his theories on art history all about? Il Kunstwollen di Riegl - la volontà artistica - è un impulso interiore che è alimentato dai valori culturali e storici del tempo, espressi attraverso elementi visivi come una forma d'arte, creando lo stile artistico di ogni periodo. Questa VOLONTÀ che è collegata al Weltanschauung (visione del mondo) di ogni epoca, cambia in base al tempo, alla nazione e al luogo; quindi, ogni epoca ha il suo Kunstwollen che è unico e irripetibile. Kunstwollen, è il modo in cui ogni cultura percepisce il mondo in un particolare epoca storica e lo manifesta attraverso l'arte di quel periodo. Pertanto, il secondo capitolo inizia analizzando i modi in cui il cervello umano percepisce il mondo esterno e crea le proprie immagini interne da una visione scientifica basata sulle idee di Eric Kandel e su come la nostra percezione diventa arte attraverso le teorie di diversi antropologi e storici dell'arte. Il capitolo continua introducendo l'arte contemporanea come arte globale, attraverso la quale ogni cultura rappresenta la propria arte contemporanea. Proprio come una lingua internazionale che dà la possibilità alle persone di culture e nazionalità diverse con lingue diverse di comunicare tra loro ed esprimere le proprie idee; l'arte contemporanea funziona come un'arte internazionale, attraverso la quale artisti di diverse parti del mondo espongono le loro opere d'arte che hanno le loro radici nel loro background culturale e storico. Attraverso l'arte globale contemporanea ogni nazione manifesta il proprio Kunstwollen contemporaneo. Se l'arte contemporanea è globale che offre alle diverse culture la possibilità di presentare la loro arte contemporanea al mondo, allora deve esserci una storia dell'arte globale attraverso la quale ogni cultura descrive la sua arte locale. Il saggio continua quindi descrivendo e confrontando gli approcci e le sfide per la definizione e la creazione di una storia dell'arte globale. Riferendosi alle idee di teorici e storici dell'arte come Hans Belting, James Elkins, Peter Weibel, David Summers, John Onians, Kitty Zijlmans, Wilfried van Damme ... e introducendo diversi programmi accademici come l'Università Heidelberg, l'Università dell'Anglia orientale , L'Università di Leida e ... saranno discussi. Il terzo capitolo inizia con la descrizione delle principali caratteristiche o Kunstwollen dell'arte contemporanea globale, e quindi basato sui contenuti dei precedenti capitoli e le mie esperienze personali, cercherò di scoprire il Kunstwollen dell'arte contemporanea di tre paesi in cui io visuto, studiato e insegnato: Iran, Italia e Stati Uniti d'America.
Alois Riegl's great impact on art history is undeniable. He influenced many art historians and theorists from Erwin Panofsky, Wilhelm Worringer, Walter Benjamin, Ernst Kris, Ernst Gombrich, Gilles Deleuze, Karl Mannheim… to the Nobel Laureate Dr. Eric Kandel. Riegl’s cosmopolitan character, and his liberal aesthetic points of view along with his beliefs on equality of all art forms (painting, drawing, sculpture, architecture, craft…), and judging the art of each era based on facts and figures that represent the Kunstwollen (art+will) of that period, makes him an exceptional scholar who was far ahead of his time, and closer to our era. A contemporary art historian belonged to the Vienna 1900. The first chapter, thus, has been dedicated to Alois Riegl and his historiographical method, and his key concepts such as Kunstwollen and the role of the beholder. The contents of this chapter take part of my book Who the hell is Alois Riegl and what are his theories on art history all about? Riegl’s Kunstwollen – the artistic will – is an inner drive that is fueled by the cultural and historical values of the time, expressed through visual elements as an artform, creating each period’s art style. This WILL which is connected to the Weltanschauung (world view) of each era, changes according to the time, nation, and location; hence, each epoch has its own Kunstwollen that is unique and unrepeatable. Kunstwollen, is the way each culture perceives the world in a particular historical time and manifests it through the art of that period. Therefore, the second chapter starts by analyzing the ways that human brain perceives the external world and creates its own internal images from a scientific view based on the ideas of Eric Kandel, and how our perception becomes art through the theories of different anthropologists and art historians. The chapter continues by introducing the contemporary art as a global art, through which, each culture represents its own contemporary art. Just like an international language that gives the possibility to the people from different cultures and nationalities with different languages to communicate with each other, and express their ideas; contemporary art works as an international art, through which artists from diverse parts of the world expose their artworks which have their roots in their own cultural and historical background. Through the Global Contemporary art each nation manifests its own contemporary Kunstwollen. If contemporary art is global that gives the different cultures the possibility to present their contemporary art to the world, then there needs to be a global art history through which each culture describes its local art. The essay then continues by describing and comparing the approaches and challenges towards defining and creating a global art history. By referring to the ideas of theorists and art historians such as Hans Belting, James Elkins, Peter Weibel, David Summers, John Onians, Kitty Zijlmans, Wilfried van Damme…and introducing diverse academic programs such as the Universitat Heidelberg, the University of East Anglia, The University of Leiden, and…will be discussed. The third chapter starts with describing the main characteristics or the Kunstwollen of the global contemporary art, and then based on the contents of the previous chapters and my personal experiences, I will try to discover the Kunstwollen of the contemporary art of three countries in which I lived, studied, and taught: Iran, Italy, and The United states of America.

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Cibin, Alberto. "I futuristi alle Esposizioni Biennali Internazionali d'Arte di Venezia (1926-1942)." Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3426760.

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This research explores the history of the Futurist Group (led by Filippo Tommaso Marinetti) and its involvement in the International Biennale Art Exhibition of Venice between 1926 and 1942. The Futurists involvement during this period was continuous and exhibitors always formed a collective, at times with over thirty artists. The exhibitions in Venice during the 30s took on a major role in the reform of contemporary art events in line with the Fascist regime. This new process aimed, through subsequent selection processes, to open doors at a local level, then on to Rome’s National Quadrennial Exhibition and finally onto the international stage of the Biennale Art Exhibition of Venice where they should have represented the best of Italian art, to be viewed by and compared with foreign nations. The Venetian exhibitions give a privileged viewpoint of not only the various phases of Futurist art and its relationship with art critics of the time, but also the often conflicting and complex relationships between Marinetti’s followers and heads of the Biennale under the forced harmony of the Fascist regime.
La ricerca indaga la storia del gruppo futurista, guidato da Filippo Tommaso Marinetti, alle Esposizioni Biennali Internazionali d’Arte di Venezia tra il 1926 e il 1942. Le partecipazioni dei futuristi in questo arco temporale fu costante e avvenne sempre in forma collettiva, tanto da contare in alcune edizioni anche più di trenta espositori. Le mostre veneziane nel corso degli anni Trenta assunsero un ruolo primario nella riforma del sistema espositivo fascista in relazione all’arte contemporanea. Tale sistema prevedeva, attraverso successivi gradi di selezione, l’accesso degli artisti dapprima a manifestazioni sindacali, provinciali e interprovinciali, poi alle Quadriennali nazionali di Roma e, infine, alle Biennali internazionali di Venezia, che avrebbero dovuto rappresentare al meglio l’arte italiana in vista del confronto con nazioni straniere. Le esposizioni veneziane sono state quindi un osservatorio privilegiato per indagare non solo le varie fasi dell’arte futurista e le reazioni della critica coeva, ma anche il complesso e talvolta conflittuale rapporto tra i seguaci di Marinetti e i vertici della Biennale, sotto l’egida forzatamente armonizzante dello Stato fascista.

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Smurthwaite, Kathryn C. "Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3903.

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There is currently need for reform in art programs of all kinds, in regards to use of and focus on contemporary art and current practices. Teaching about art of our time and place enables students to understand and make connections to their world, and facilitates art making that is creative and relevant. This thesis describes theory and rationale for basing curriculum on contemporary art practices and presents a jewelry workshop, for all skill levels, that teaches contemporary art themes and practices. There are two units. The first teaches metal texturing, shaping and simple soldering skills while, focusing on art that deals with spectral and compensatory remembering themes. The second unit teaches bezel setting while focusing on alternative to the establishment art themes. The lessons in the workshop were also created using contemporary art teaching techniques and new principles and elements of design.

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MUDU, STEFANO. "RE / OVER / HYPER-ENACTMENTS Strategie di riattivazione nelle produzioni artistiche contemporanee." Doctoral thesis, Università IUAV di Venezia, 2022. http://hdl.handle.net/11578/319396.

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Questo studio intende delineare le regole di un nuovo modello analitico denominato “ciclo migratorio delle immagini”, utile a orientarsi tra quegli specifici oggetti visuali che, finora studiati nell’ambito dei cosiddetti “re-enactment studies”, si presentano come strategiche riattivazioni di materiali pregressi, artistici e no. La tesi si sviluppa a partire da un discorso storico-critico tra i pionieri di questo approccio e, dopo aver ripercorso la storia dell’arte del Novecento, si concentra sulla produzione artistica degli ultimi vent’anni. Ricorrendo a un filtro analitico di tipo compositivo supportato dalle più contemporanee teorie filosofiche come la Object-Oriented Ontology, l’autore analizza il lavoro di un gruppo di artiste/i intermediali, tra cui Alexandra Pirici, Rayyane Tabet, Mathilde Rosier, Anthea Hamilton, Goshka Macuga e Camille Henrot. Tale operazione permette alla tesi di mettere in discussione la terminologia attualmente utilizzata negli studi sull’argomento, approdare alla formulazione di nuove nomenclature e, infine, delineare il perimetro applicativo di un nuovo contesto di indagine: gli “enactment studies”.
This study aims to outline the rules of a new analytical model called “migratory cycle of images”. This is supposed to act as an orientational tool among those visual objects seen as strategic reactivations of past materials that have been studied until now within the so-called “re-enactment studies”. The thesis takes away from a historical and critical discourse about the pioneers of a similar approach and, by retracing the history of art during the last Century, specifically focuses on the artistic production from the last twenty years. According to the principles outlined by one of the most contemporary philosophical theories such as the Object- Oriented Ontology, the author takes the perspective of a compositional approach to analyse the works realized by a group of established artists, including Alexandra Pirici, Rayyane Tabet, Mathilde Rosier, Anthea Hamilton, Goshka Macuga and Camille Henrot. This path, theoretical and historical at the same time, allows the thesis to question the vocabulary currently used to describe the object of research, to formulate new nomenclatures and, finally, to outline the potential of a new field of study: namely the “enactment studies”.

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Jones, Juliane. "Contemporary kunqu composition." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/51241.

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Kunqu is an operatic singing style that developed in the town of Kunshan near Suzhou, China in the sixteenth century. Kunqu is currently experiencing a revival in China, but only five professional musicians are actively composing, continuing the tradition of creating kunqu melodies with qupai (preexisting tune structures) for the singing of literary lyrics. This dissertation investigates current practices of kunqu composition with an ethnographic approach that employs a variety of research techniques including: translations of historical and contemporary compositional treatises, participant-observation in composition lessons, formal and informal interviews, as well as analysis of musical scores, sound recordings, and live performances. I theorize kunqu composition as a process of composers’ translating personal and intellectual knowledge of historical Chinese and Western music as well as collective knowledge of the key branches of kunqu theory into performable and audible musical works (introduction). To explain the genre’s musical vocabulary, I describe traditional and contemporary features such as: relationships between linguistic and musical tones, musical modes, qupai, rhythm and meter schemes, and use of musical instruments. I then describe the process of composing an aria from qupai according to contemporary practice (chapter 2). To contextualize kunqu composition, I trace the history of the genre (chapter 3). Then I analyze how two contemporary kunqu composers engage in methods of kunqu composition in their own creative and theoretical ways (chapters 4 and 5). Finally, I explore a musical dialogue between Western and Chinese musical cultures through examining Tan Dun’s version of the kun opera The Peony Pavilion performed at the Metropolitan Museum in 2012 (chapter 6).
Arts, Faculty of
Music, School of
Graduate

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Miller, Bruce Barnett. "Immutability contemporary models /." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.

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Peplow, Mark Andrew. "Contemporary metal carbonyl." Thesis, Imperial College London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419989.

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Sargisson, Lucy. "Contemporary feminist utopianism." Thesis, Keele University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295799.

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Powell, Michael R. (Michael Randall). "Contemporary urban frontiers." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/34417.

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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2006.
Includes bibliographical references (p. 184-190).
This thesis is a provocation; to the profession of architecture at large and every person who reads it. In reading this work, the manner in which our profession functions in society should be questioned. Architecture affords us the opportunity to conceive beyond the confines of formal design, tectonics, and technology. In it we may find the ability to significantly engage with culture, to comment, and to influence change. If we neglect this capacity, we are assured to continue on the path of a formalistic tradition set before us by so many others. This thesis studies the benign, the ubiquitous; considers it as a vehicle of change. In doing this, an alternative to the prevalent stylistic driven methodology of architecture is presented. The typology of retail presents itself as a beginning, a gestation point from which a new mode for consideration of design is born. Discovered is a new trajectory of thought, one capable of taking a common cultural circumstance and re-conceptualizing it as social progress. In this, a new paradigm for architecture is conceived. One less concerned with how something is made or what it represents, and more concerned with what architecture may accomplish on a variety of scales; from the individual, to the community, to culture as a whole.
by Michael R. Powell.
M.Arch.

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Marmur, Michael. "Contemporary Jewish homiletics." Universitätsbibliothek Leipzig, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-197606.

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This article deals with the derasha, the Jewish sermon and offers an inventory of the key dimensions of the Jewish sermon as practiced today and in the past from a reformed Jewish perspective. It shows its connection to the particular moment, its functions (further distinguished as contextual, intentional, educational, and symbolic), its message, sources, structure, and the techniques involved in its delivery and gives a brief example of one of the author’s own derashot from July 2015.

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Shtonda, A. O. "Great Contemporary Photographers." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8399.

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Shnit. "CONTEMPORARY ENVIRONMENTAL LOGISTICS." Thesis, Київ 2018, 2018. http://er.nau.edu.ua/handle/NAU/33904.

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Joy, Clair. "Contemporary landscape painting." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523650.

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This thesis will look at the concept of contemporary landscape painting as well as examples of artists whose work could be described as landscape painting in a contemporary context. I will be using different models (both theoretical and artistic) from those associated with the history of landscape painting to look at what contemporary landscape painting might now be. My purpose is twofold: to argue that the concept of landscape has been redefined and as a result landscape painting has new ways of being thought about, and to establish a context for my own practice. I look at the idea of space-time to investigate how it defines place and as a result redefines landscape painting in a contemporary context. As a way of doing this I look at montage and at maps/mapping, both as ideas and as ways of working. Differing approaches and mediums as 'producing' spaces, rather than an emphasis on depicted visual characteristics (of buildings or the rural for instance), is also discussed as a concept that relates to contemporary landscape painting. Paintings can have a diverse materiality that may embody and refer to our experience of place. Paintings may also engage the 'discursive site' of landscape, reflecting the questions and issues related to shifting conceptual understandings of 'landscape' . I look at the work of three established artists that may be seen as establishing new contexts in which to see contemporary landscape paintings. These artists are Robert Smithson, Alighiero Boetti and Eugenio Dittborn. Examples of artists who connect with concepts of space-time as unexpected and unpredictable, or use the co-existence of different 'spaces' in their methods of making and in their subject matter, are described as contemporary landscape painters. I have selected the artists Julie Mehretu, Sarah Morris, Angela de la Cruz, Neil Jenney, Nigel Cooke and Keith Tyson.

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Carroll, Alice. "The contemporary vessel /." Online version of thesis, 1992. http://hdl.handle.net/1850/11622.

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KRAUS, JODY STEVEN. "CONTEMPORARY HOBBESIAN CONTRACTARIANISM." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184172.

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Contemporary Hobbesian contractarianism began in the wake of John Rawls' revitalization of contractarianism in A Theory of Justice and the subsequent body of critical literature which has grown up around it. Philosophers have been impressed with Rawls' powerful application of a contractarian framework to traditional issues in moral and political philosophy but dismayed at the extensive normative precommitments of his particular contractarian theory. They have thus sought an equally powerful contractarian approach unwed to strong normative precommitments. Of all extant contractarian theories, Thomas Hobbes' theory in Leviathan uniquely constitutes such an approach. Like all contractarians, Hobbes specifies a hypothetical choice problem consisting of a choice environment, a choice problem, and a method of resolution. But Hobbes' choice environment purports to make virtually no substantive normative precommitments. The strength of Hobbesian contractarianism is that it seeks to generate substantive normative conclusions from premises established in a normatively minimalistic theoretical framework, and thus promises not to beg any fundamental normative questions. This dissertation considers in detail three comprehensive and game-theoretically sophisticated books which are central to the current corpus of contemporary Hobbesian contractarianism. These are Jean Hampton's Hobbes and the Social Contract Tradition, Gregory Kavka's Hobbesian Moral and Political Theory, and David Gauthier's Morals by Agreement. We explain the common denominators and points of divergence among these theories while undertaking an extensive critical investigation of each. Two fundamental themes emerge from these investigations. First, Hobbesian contractarianism tends to run afoul of collective action problems at various levels of its overall argument. Collective actions problems arise when the requirements of individual and collective rationality diverge. Second, the normative minimalism which is heralded as the primary virtue of Hobbesian contractarianism is also revealed as one of its fundamental problems. By minimalizing its normative precommitments, Hobbesian contractarianism undermines its ultimate goal of generating powerful normative conclusions.

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Barlas, Kaya. "The contemporary camera." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202921.

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Sevier, Lou Ann Hopper. "The Contemporary Manager." Digital Commons @ East Tennessee State University, 2003. https://dc.etsu.edu/etd/812.

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Diversity has entered the leadership arena, as it has all other aspects of life. As we prepare leaders to lead in a more diverse world and train managers in the skills needed to succeed in a competitive society, we must understand what managers’ activities consist of and how leadership styles differ. The purpose of this qualitative study was to investigate the activities of Chief Executive Officers in businesses from a variety of sectors, document differences in male and female leadership styles, and compare these findings with previous studies. Data were collected through observation and creative interviews with three female and three male CEOs, one of which was a minority. The CEOs had been employed in his or her position for at least two years, and the organizations were diverse, successful, and well-known. Observation notes, dialogue and creative interviews were analyzed using Glaser and Strauss’s (1967) constant comparative method. Variety, brevity, and fragmentation were found in the activities of a contemporary manager, and attitudes toward scheduled breaks, interruptions, outside activities, outside businesses, reflection, communication, technology, and identity were found to be similar between male and female leaders. The CEOs tended to value the importance of breaks, have tolerance for interruptions, participate in outside activities, and establish outside business relationships. Also, they tended to value reflection, have informal and formal ways of sharing information with employees, have been impacted for the better by technology, and have a multi-faceted identity. Additional qualitative and quantitative research was recommended to further explore how studies can help prepare leaders by understanding the activities and leadership styles of contemporary managers.

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Holtmeier, Matthew. "Contemporary Political Cinema." Digital Commons @ East Tennessee State University, 2019. https://www.amzn.com/1474423418.

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The political films that have emerged on the global film festival circuit since the 1990s mark a shift in cinematic strategies for critically addressing dominant, militant, or otherwise repressive ideologies. From a focus on the representation of oppression in films like The Battle of Algiers, films such as Timbuktu, Nobody Knows About Persian Cats and Chop Shop now contribute to the active formation of political characters and viewers, a form not fully realized until the 21st century due to shifts in information technologies and resulting political organization. This book demonstrates that a contemporary form of political cinema has emerged, centered on the production of subjectivity and networks of protest, which depicts the active formation of political identities that resonates with off-screen protest movements.
https://dc.etsu.edu/etsu_books/1211/thumbnail.jpg

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Marsilio, Morena. "Modi e forme dell'invenzione. Strategie finzionali e costanti tematiche nella narrativa dell'estremo contemporaneo (1995-2016)." Doctoral thesis, Università degli studi di Padova, 2017. http://hdl.handle.net/11577/3424793.

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The present work aims to study the persistency of fiction in an age in which the novel, that is being challenged both by the ever-increasing "recitar vivendo" (literally, "playing by living", cfr. Siti) of reality shows and as well as by intrusions from pulp literature, appears to depend for its survival only on the persistency of its capacity for inventiveness. My main goal is to focus on the long-lasting effectiveness of fictional techniques as well as of identifying a body of works that can be labelled as novels in the traditional sense of the word: even in these years, in fact, narratological devices as first and third person narrator, time, characterization, voice and point of view still prove themselves capable of creating an infinite variety of "possible worlds" able of speaking about our own. Both its title and its subtitle intend to convey the idea that fiction - in its double etymological meaning of shaping and of representing - and invention - seen as a search for suitable themes and materials - are still structural elements, mediators of references to reality and the result of deliberate choices determined by the author's poetics in today's novel. My thesis is divided into three sections and consists of six chapters: after providing an overview of the cultural field (Mappe del contemporaneo (1995-2016): periodizzazione e forme // Maps of the contemporary scene: periodization and forms), it investigates the theoretical problem of what fiction is in the light of the most relevant narratological acquisitions verified through some novels which can be considered emblematic of the most frequent fictional modes (La finzione narrativa: teoria letteraria e strategie ricorrenti // Narrative fiction: literary theory and recurrent strategies). The third section is the core of my work, since it both deals with the themes that repeatedly characterize the novels of the last two decades and contains an analysis of six works of fiction that well represent this period, due to the cross between themes and forms present in them (Lo spazio dell'invenzione: romanzi italiani del nuovo millennio // The space of invention: Italian novels of the new millennium). I have selected the following six works published between 1997 and 2014 which, due to their thematic and formal strength, appear to confirm the persistency of the novel and of realistic fiction well beyond the limits of pulp literature: Ogni promessa, by Andrea Bajani; La gemella H, by Giorgio Falco; La ferocia, by Nicola Lagioia; Violazione, by Alessandra Sarchi; Il tempo materiale, by Giorgio Vasta; and Dei bambini non si sa niente, by Simona Vinci. After selecting suitable criteria and a viable method for examining these works, I have compared the novels after dividing them into pairs based on their thematic contiguity and different (but exemplary) fictional strategies and choice of expression.
Questo lavoro intende studiare la persistenza della finzione narrativa in un'epoca in cui il romanzo, messo alle strette tanto dal crescente "recitar vivendo" (Siti) dei reality quanto dall'invadenza delle narrazioni di genere, sembra destinato alla sopravvivenza solo grazie alla denegazione della sua capacità inventiva. La ricerca mira a mettere a fuoco la perdurante efficacia degli artifici di finzione e a individuare un nucleo forte di opere ascrivibili al genere romanzo tradizionalmente inteso: dispositivi narratologici quali la mediazione narrativa in prima o in terza persona, il trattamento del tempo, lo statuto del personaggio, la voce e il punto di vista si dispongono anche nelle opere di questi anni a realizzare infiniti 'mondi possibili' in grado di parlare del nostro mondo. Titolo e sottotitolo intendono suggerire l'idea che il fingere - inteso nel duplice senso etimologico di plasmare e di rappresentare - e l'inventio - considerata come ricerca dei temi e degli esistenti da mettere in campo - siano ancora oggi per il genere romanzo rispettivamente elementi strutturanti, mediatori di referenti di realtà e frutto di scelte consapevoli di poetica autoriale. Suddivisa in tre parti, la tesi si compone di sei capitoli: dopo un inquadramento di carattere generale relativo al campo della cultura (Mappe del contemporaneo (1995-2016): periodizzazione e forme), viene indagato il problema teorico dello statuto di finzione alla luce delle principali acquisizioni narratologiche verificate su alcuni romanzi considerati emblematici delle più frequenti modalità finzionali (La finzione narrativa: teoria letteraria e strategie ricorrenti). La terza parte costituisce, infine, il cuore della ricerca, riguardando tanto le costanti tematiche ravvisabili nei romanzi dell'ultimo ventennio quanto l'analisi di sei opere d'invenzione rappresentative di quest'arco temporale proprio per l'incrocio tra temi e forme (Lo spazio dell'invenzione: romanzi italiani del nuovo millennio). Sono stati individuati sei testi pubblicati tra il 1997 e il 2014 che, per la loro forza tematica e formale, sembrano attestare la persistenza del genere romanzo e del fittizio realistico ben oltre i limiti della narrativa di genere: Ogni promessa di Andrea Bajani, La gemella H di Giorgio Falco, La ferocia di Nicola Lagioia, Violazione di Alessandra Sarchi, Il tempo materiale di Giorgio Vasta e, infine, Dei bambini non si sa niente di Simona Vinci. Dopo aver messo a punto i criteri e il metodo con cui prendere in esame queste opere, i romanzi sono stati comparati per coppie, a partire dalla loro contiguità tematica e da difformi, ma esemplari, strategie finzionali e scelte espressive.

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Fantozzi, Chiara. "Disordine e disonore nell'occupazione alleata : Livorno (1944-1947)." Doctoral thesis, Scuola Normale Superiore, 2017. http://hdl.handle.net/11384/86050.

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Kay, Marja Liisa. "Contemporary vocal music : language, technology and contemporary vocal music of Finland." Thesis, University of York, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583263.

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This thesis is centred on a number of contemporary vocal performances and projects I encountered, and often single-handedly organised, during years of study and exploration. An introduction provides insights as to how I came to connect my original performance research goals with additional subject matters in an effort to provide a more complete illustration of the broad span of the music at hand. The bulk of this submission lies within the recordings of performances, which are supported by three exploratory chapters that discuss the relationships of the works to one another. The first chapter examines Finnish contemporary vocal music from a performer's point of view. Following this are two chapters that look at selected vocal works of two of the most internationally famous composers today, Esa-Pekka Salonen and Kaija Saariaho, in juxtaposition with an array of non-Finnish composition that share common themes. These chapters are accompanied by five audio CDs and one DVD, an extensive listing of recording tracks and performances, programmes and notes from all relevant concerts, press releases and reviews where applicable. An afterword sums up conclusions I arrived at regarding the role ofthe contemporary vocal artist and our responsibilities to the future of musical art.

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de, Feo-Giet Danielle Karanjeet J. "Fantasies of authenticity, anxieties of culture : global capital, entertainment and cultural nationalism in the contemporary popular cinemas of India and China since 1990." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:39cbae3c-354c-4ebc-be09-386af42f78d0.

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My thesis is dedicated to the study of popular, commercial cinema as a force within the discourse of national and personal identity in the rapidly changing mega-economies of India and China, and their diasporas, since the watershed year of 1990. Its purpose is to reveal the unique pattern of like and unlike that exists between the "Social Representations" (Serge Moscovici 2000) of contemporary India and China on screen through a juxtapositional comparative approach, close visual analysis, and the development of original theoretical tools. Tense networks of fantasy and anxiety emerge as popular culture actively circulates their shared experiences of changing global status, uneven economic growth (Gong Haomin 2012), and social change. Transnational subjects, Hua and Desi, arrive on screen ready to carve out culturally inflected modernities, in search of "tradition" and "values" to suit contemporary cultural-nations-beyond-borders. I treat film as consumer product, diegetic entity, and text: hence narrative, visual, linguistic and contextual aspects of over fourteen popular commercial films ("Bollywood" and "Yulepian"), are explored. My analysis comprises two interlocking halves: the first two chapters focus chiefly on identities - Hua and Desi, and diasporic persons. The former, conduits for the cultural nation to re-think modernity, the latter a dreamed vanguard of "claim-staking" ethnicised global consumers, defenders of the cultural nation in the "host" country. Chapters Three and Four focus on genres - comedy and history films. Through comedy, these films create state-serving heterotopias or challenge the status quo; perhaps they build cultural nationalist mythos, or lace cynical questions through lavish history film. To understand internecine relationships between economics, society and the imagination, entertainment film cannot be dismissed - in India and China, where change has had intended and unintended consequences unfolding even as uncertainty looms, I show that fresh study, especially in comparison, is absolutely essential.

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Brito, Nayara Macedo Barbosa de. "Formas de ser um, de ser só : modos de sentir da dramaturgia brasileira contemporânea." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/122538.

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Tomamos o trabalho de três dramaturgos brasileiros contemporâneos, a saber: Newton Moreno, Fernando Bonassi e Roberto Alvim e suas respectivas peças Dentro, Três cigarros e a última lasanha (em coautoria com Victor Navas) e Pinokio na tentativa de apreender/identificar, a partir de uma perspectiva de análise estética e histórica, o que seria a nossa contemporaneidade, entendida aqui nos termos do que o teórico britânico Raymond Williams, principal referência de nosso estudo, chamou de estrutura de sentimento: um conteúdo de experiência e de pensamento que, histórico em sua natureza, encontra formalização nas obras de arte. É a partir de uma análise que tencione as formas ou convenções dramatúrgicas criadas por cada um dos autores de nosso corpus, inclusive os desvios que operam em relação ao modelo aristotélico-hegeliano de drama, e o conteúdo histórico-social que se precipita nessas formas, orientado, segundo o entendimento de Fredric Jameson, pelas dinâmicas do capitalismo enquanto sistema econômico vigente, que buscamos identificar, ainda que em termos imprecisos, o que seria a nossa contemporânea estrutura de sentimento. Amparam a nossa análise, em sua perspectiva formal, os estudos mais recentes sobre a poética do drama moderno e contemporâneo, que têm em Jean-Pierre Sarrazac seu principal organizador. Assim, buscamos compreender estética e historicamente os dramaturgos propostos e suas dramaturgias, guiando-nos pelo pensamento dos teóricos citados; e, como objetivo último, nos lançamos na tentativa de discernir a estrutura de sentimento dominante de nossa época e suas relações com as estruturas dramatúrgicas criadas no nosso presente histórico.
We take the work of three contemporary Brazilian dramatists: Newton Moreno, Fernando Bonassi and Roberto Alvim and their respective plays Dentro, Três cigarros e a última lasanha (co-authored with Victor Navas) and Pinokio with the intend to see/identify, from an aesthetic‟s and historic‟s perspective of analysis, what is our contemporaneity, here understood by what the Britain theoretical Raymond Williams, our study‟s main reference, calls structure of feeling: a content of experience and thought which, historical in its own nature, it‟s embodied in art. From an analysis which puts in tension the dramaturgical forms or conventions created by each one of our corpus‟ authors, including the shifts they operate in Aristotelian-Hegelian drama standard, and the historical and social content that decants in these forms, guided, according to the Fredric Jameson‟s understanding, by the capitalist‟s dynamic as the present economic system, we intend to identify, even if in inaccurate terms, what is our contemporary structure of feeling. Support our analysis, in its formal perspective, the recent studies about modern and contemporary drama poetic, which have in Jean-Pierre Sarrazac its main organizer. Thus, we intend to understand aesthetically and historically the dramatists proposed and their dramaturgies, guiding ourselves by the above theoretical‟s thought; and, last but not at least, we throw ourselves in the attempt of distinguish the structure of feeling dominant in our time and its relations with the dramaturgical structures created in our historical present.

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DAOUD, AHMED. "«A conquistare la rossa primavera»? Resistenza e antifascismo durante la «Seconda Repubblica» (1993-2009): celebrazioni, ideologia, pratica politica, quotidiani, programmi televisivi, documentari, film e canzoni”." Doctoral thesis, Scuola Normale Superiore, 2018. http://hdl.handle.net/11384/86062.

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CAFORIO, Lucia Anna. "Radiocarbon dating for contemporary art: hardware developments and measurements." Doctoral thesis, Università degli studi di Ferrara, 2012. http://hdl.handle.net/11392/2389460.

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The research developed during my PhD can be inserted within the activities of the Archaeometry Laboratory of the Physics Department of the University of Ferrara, where works of art are studied using non invasive and non destructive techniques for diagnostic purposes. In particular, in the most recent years the attention has been focused on contemporary artworks. Concerning contemporary art, it is well known that one of the most important aspects is authentication and, as a consequence, identification of fakes. Sometimes a simple artistic style is not sufficient to solve this issue; therefore the support of scientific analyses is widely requested. In this framework, during my PhD, the capability to solve authentication issues by radiocarbon (14C) dating in an univocal way has been tested. The possibility to use the radioactive isotope 14C in contemporary art is given by the so called Bomb Peak, which is the huge increase of the radiocarbon concentration happened in atmosphere after the end of the Second World War. Actually, in the late 1950s and early 1960s, as a consequence of hundreds of nuclear weapon tests, large amounts of neutrons were produced in the atmosphere, thus significantly increasing the radiocarbon production rate. This artificial 14C input caused a global increase of the 14C/12C ratio in the atmospheric CO2 and in all the other reservoirs, i.e. in the oceans and in the biosphere. The increase was so large that the atmospheric radiocarbon concentration was almost doubled in less than 10 years. Then, after 1963, when the Nuclear Non-Proliferation Treat was signed, the 14C concentration started to decrease due to the rapid exchanges with the carbon reservoirs. This is just the peculiar trend of the 14C concentration that is exploited in forensics to date samples with a very high precision. In order to verify the possibility to use radiocarbon dating for contemporary artworks, several measurements were performed on paper and canvas samples collected from artistic objects of the XX century. The radiocarbon measurements were performed by Accelerator Mass Spectrometry (AMS) at INFN-LABEC (Laboratorio di Tecniche Nucleari per i Beni Culturali) in Florence, where a 3 MV Tandem accelerator and a sample preparation laboratory are installed. In these three years, several hardware developments concerning the experimental set-up were also performed. One of the hardware developments concerned the installation of a new graphitization line; thanks to this upgrade, the radiocarbon concentrations measured in blank samples were satisfactory and of the same order of magnitude of the pMC values measured in the first years of the operation of the AMS facility at LABEC. In addition, thanks to the new silicon photodiode installed as rare isotope detector on the AMS beam line, a remarkable improvement of the energy resolution was achieved, paving the way also to the measurement of rare isotopes other than 14C. Moreover, two new chemical pre-treatments were tested: these procedures were especially dedicated to deteriorate cellulose-based materials (alpha cellulose extraction protocol) and to restore artworks (chloroform-based procedure). Besides radiocarbon measurements on several test samples, the effectiveness of these new pre-treatments was also confirmed by using other techniques, i.e. Fourier Transform Infra-Red Spectroscopy, FTIR, and Attenuated Total Reflectance, ATR. Since these techniques are non destructive (ATR) or require just a very small quantity of sample (FTIR), their use during the sample preparation steps to verify the applied protocols can be proposed as a routine practice. The improvements regarding the experimental set up, especially the new chemical pre-treatments, and the radiocarbon measurements performed on paper and canvas samples collected from objects of the XX century were done in order to verify advantages and limits of radiocarbon dating for contemporary artworks. As far as paper is concerned, we analyzed samples collected from Italian newspapers published since 1930s until present and from fine papers used in limited edition drawing prints realized in the second half of the 20th century. The canvas samples were collected from contemporary art paintings. The measured 14C concentrations were compared to the expected concentrations estimated on the basis of the year indicated on each sample (i.e. the year of publishing/printing or the year signed by the painter), allowing us to highlight advantages and limits of the use of this dating method. The experimental data have clearly pointed out that we can easily discriminate between samples of the first half and samples of the second half of the 20th century, giving us the possibility to use radiocarbon to solve authentication issues. Important differences between materials derived from long-living plants (dailies paper from wood) and from short-living plants (fine paper from cotton and canvas from cotton or flax) have been shown. In particular, as far as newspaper samples are concerned, comparing the experimental results with the reference Bomb04NH1 curve, lower 14C concentrations than the atmospheric values were generally measured (in fact, in this case, the raw material is wood). Thus, even though we were able to perform radiocarbon measurements with a high precision, we have verified that, due to the characteristic manufacturing processes of paper, it is not possible to match each measured radiocarbon concentration to the corresponding calendar year in which the paper was produced. In the case of fine paper and canvas samples, we have noticed a general agreement between the measured radiocarbon concentrations and the expected values, although an offset of few years with respect to the expected date has been found. This discrepancy can be related to a reasonable time gap between the year when the plant, from which paper or canvas were manufactured, was cut and when these materials were really used. All these radiocarbon measurements have been supported by a characterization of the samples by optical and electron microscopy (SEM), to study the state of preservation and the raw materials. This is very important to choose the better chemical protocol to apply for the sample preparation and to better interpret the radiocarbon results. The results achieved with this work have demonstrated to be very important also for some real cases. The 14C measurements performed on a canvas sample collected from a restored painting have confirmed the effectiveness of the new chloroform-based sample preparation protocol. The dating of a painting attributed to F. Léger (1881-1955), that has been measured to be a fake, has shown how powerful radiocarbon can be for contemporary art authentication issues, i.e. for the identification of forgeries made in the last decades of the 20th century of artworks that are supposed to be of the first half of the same century. The research developed in these three years has shown advantages and limits of radiocarbon dating in studying of artworks of the 20th century. In particular, we have proved that it is possible to solve authentication issues especially for samples obtained from annual plants. This important result can be very useful for the art critics, the curators of the museum and the art merchants. It is obvious that the radiocarbon measurements and the other scientific techniques have always to be supported by the knowledge of other independent information concerning for example the story of the sample to be dated.

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38

Fouquet, Monique. "Contemporary art/contemporary pedagogy : interrupting mastery as paradigm for art school education." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31304.

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Contemporary art/contemporary pedagogy: interrupting mastery as paradigm for art school education is a narrative exploration of artistic and pedagogical practices within the specific context of post-secondary art school education in stand alone art schools as opposed to a university art department. This study considers the following three primary questions: How can art school education better reflect postmodern cultural production? What are some of the ways in which pedagogical practice disrupts the monolithic model of mastery? How can art school pedagogy be re-oriented away from an overly deterministic notion of education? Through reflexive inquiry, I offer a personal perspective on art school education, weaving together my own experiences as student, artist, teacher and administrator, and juxtaposing 'my' text against the text of three artist pedagogues, representing specific aspects of field experience. Throughout the dissertation I seek to unearth the hidden assumptions that are embedded in historically inherited ways of being and doing in relation to contemporary art. I suggest that the partitioning of the institutional space into studio disciplines also segregates knowledge, and as such, largely determines the pedagogical framework of art schools. In the face of the interdisciplinary character of contemporary practice, I question the usefulness and relevance of disciplinary pedagogues modeled around the notion of achieving mastery as a paradigm that has shaped curricular practices in art schools in the past, and largely continues to define art school education today. I propose that the three artist pedagogues in this dissertation are each contributing to creating new inquiry structures that challenge boundaries between studio disciplines, between school and not-school, and between and among places of learning. I end by suggesting, as a topic for further research, complexity science as it may offer a productive framework to re-consider art school education.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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39

Silva, Dario Rodrigues. "A obra pianística de Marisa Resende : processo de construção da performance através da interação entre intérprete e compositora." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/114679.

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O trabalho investiga o processo de construção das performances das obras para piano solo da compositora carioca Marisa Rezende (1944), considerando a interação entre intérprete e compositora. Até o momento, a obra pianística de Marisa Rezende é constituída pelas obras Ressonâncias (1983), Contrastes (2001) e Miragem (2011). Através da documentação de seu processo de construção da performance das obras, das mensagens eletrônicas trocadas com Marisa Rezende, e do material documentado em áudio e vídeo proveniente do trabalho presencial realizado com a compositora, o autor avalia o impacto que essa interação ocasionou em suas decisões interpretativas.
This work investigates the process of creating an interpretation of the works for solo piano by Brazilian composer Marisa Rezende (Rio de Janeiro, 1944). At the present time, Rezende’s works for solo piano comprise Ressonâncias (1983), Contrastes (2001), and Miragem (2011). This investigation considers the contributions of the interaction between the performer and the composer. By documenting the process of creating an interpretation for these works prior to working jointly with the composer, and the interactions with Rezende through electronic messages and an audio/video recording of a working session with the composer, the author assesses the impact of those interactions on his interpretative decisions.

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40

RE, FEDERICA. "PATRIOTTISMO E COSMOPOLITISMO NEL PRIMO OTTOCENTO: FRANCESCO CUSANI CONFALONIERI, TRADUTTORE, STORICO ED EDITORE LOMBARDO." Doctoral thesis, Università degli Studi di Milano, 2018. http://hdl.handle.net/2434/548028.

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La figura del nobile Francesco Cusani Confalonieri (1802-1879) non è stata ancora adeguatamente indagata dalla storiografia, sebbene la sua poliedricità offra interessanti prospettive di ricerca sulla cultura italiana di primo Ottocento e sui suoi legami con quella europea. Egli fu infatti allievo di Gian Domenico Romagnosi, traduttore, storico, editore, viaggiatore e patriota lombardo, nonché autore di una voluminosa Storia di Milano in otto tomi, pubblicata in epoca post-unitaria, per la quale è tuttora noto agli studiosi. Attraverso l’esame delle sue carte personali, finora inesplorate, e delle sue opere, questa tesi intende scandagliare il suo vissuto da un nuovo angolo visuale, domandandosi se esistesse un nesso tra i suoi lavori storico-letterari e il suo engagement politico. Innanzitutto risale all’ambiente familiare per comprendere quale fu il retroterra su cui poté maturare il senso d’appartenenza nazionale di Cusani. Grazie al reperimento di alcuni testi fruiti e prodotti da quest’ultimo durante il periodo universitario (1823-1828), si concentra poi su un elemento cruciale per i futuri sviluppi della sua attività di intellettuale: il precoce intreccio che, nella sua esperienza, si verificò tra ideali risorgimentali e romanticismo, caratterizzato fin dai suoi albori da uno spiccato cosmopolitismo. La ricerca coglie perciò quali ne furono gli esiti, soffermandosi sull’operato di Cusani nell’Italia preunitaria. In particolare, analizza come le sue traduzioni di alcune opere di Walter Scott e la sua ideazione di periodici italiani per bambini e ragazzi concorsero alla diffusione di principi liberali all’interno della Penisola, mantenendo, però, un costante dialogo con la dimensione europea. Quindi rintraccia l’influsso che questi precedenti lavori e alcuni successivi viaggi in Italia e in Europa esercitarono sul contributo di Cusani ai progetti editoriali della Pirotta e Compagni, tipografia-libreria milanese di cui egli fu socio dal 1835 al 1859. Alla luce di questa ricostruzione, la partecipazione del personaggio all’insurrezione quarantottesca si configura, pertanto, come l’esito di un percorso culturale iniziato nei decenni precedenti e costantemente volto alla modernizzazione della Penisola sotto qualsiasi aspetto – incluso quello politico – in linea coi progressi europei. Parimenti, la Storia di Milano risulta l’approdo di una lunga ricerca storica nata negli anni Trenta e permeata da velati intenti politici.
The figure of nobleman Francesco Cusani Confalonieri (1802-1879) has not been sufficiently investigated yet, even though the study of his eclectic life provides new perspectives on the Italian culture of the early nineteenth century and its links to the rest of Europe. He was a disciple of Gian Domenico Romagnosi, a translator, historian, publisher, traveller, Lombard patriot and the author of History of Milan (Storia di Milano) in eight volumes, published after the Italian Unification, for which he is still well known to scholars. Through the analysis of his personal documents, till now untouched, and his works, this research aims to explore his life from a new point of view, by focusing on the possible connection between his literary activity and his political involvement. Firstly, it examines his family environment in order to understand the cultural background in which Cusani’s sense of national identity could flourish. Secondly, thanks to the discovery of texts written or read by him during his time at the University of Pavia (1823-1828), the work focuses on a crucial element for the future developments of his intellectual activity: the relationship between national ideals and Romanticism that he precociously experienced, marked by a strong cosmopolitanism since the beginning. As a result, the research looks at Cusani’s activity in preunitarian Italy. Specifically, it examines how his translations of some of Walter Scott’s works and the children’s periodicals he created contributed to the diffusion of national ideals throughout Italy, all the while maintaining a constant dialogue with the rest of Europe. It then tracks the influence these previous works and some subsequent trips in Italy and Europe had on Cusani’s contribution to the editorial projects by “Pirotta e Compagni”, the Milanese publishing house he was a member of from 1835 to 1859. In light of this study, Cusani’s participation to the 1848 insurrection becomes the outcome of a process begun in the previous decades and continually aimed at the modernization of the country under all aspects – including its politics – and in line with European progress. Likewise, his History of Milan is the end result of a long historical research originated in 1832 and imbued with covert political aims.

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Gonullu, Ayse. "Contemporary Women&amp." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/2/12606618/index.pdf.

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The main aim of this study is to investigate the tools of the women&
#8217
s activism which are used in transforming the gender equality agenda in Turkey in terms of legislative reform. To illustrate and study of the tools of women&
#8217
s activism descriptively, a case study on the women&
#8217
s activism for legislative reform in Turkey is conducted. The findings of the research verified the research thesis that women&
#8217
s activism that occurred after 1980s and institutionalized during 1990s was incredibly influential in transforming the Turkey&
#8217
s political agenda. The inner organization manner of women&
#8217
s movement, its use of the media, lobbying activities such as finding allies in the commission and parliament, engagement with international women&
#8217
s rights mechanisms, conducting effective communication through list-serve, arranging street demonstrations and actions can be enumerated as important tools.

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42

Konya, Akari. "Chanting in Contemporary Palau." 京都大学 (Kyoto University), 2015. http://hdl.handle.net/2433/199423.

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Mynett, Mark. "Contemporary metal music production." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/19314/.

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Distinct challenges are posed when conveying Contemporary Metal Music’s(CMM) sounds and performance perspectives within a recorded and mixed form. CMM often features down tuned, heavily distorted timbres, alongside high tempi, fast and frequently complex subdivisions, and highly synchronised instrumentation. The combination of these elements results in a significant concentration of dense musical sound usually referred to as ‘heaviness’. The publications for this thesis present approaches, processes and techniques for capturing, presenting and accentuating heaviness, as well as intelligibility and performance precision which facilitate the listener’s clear comprehension of the frequent overarching complexity in the music’s construction. Intelligibility and performance precision are the principal requirements for a high commercial standard of CMM, and additionally can enhance a production’s sense of heaviness. This synoptic commentary defines heaviness from an ecological perspective, by highlighting invariant properties that shape the embodied experience of being human. Heaviness is primarily substantiated through displays of distortion and, regardless of the listening levels involved, the fundamentals of this identity are ecologically linked to volume, power, energy, intensity, emotionality and aggression. In addition to distortion, a vital component of heaviness is sonic weight, which refers to CMM’s low frequencies being associated with large, intense and powerful entities. CMM’s heaviness is also considered in terms of the perceived proximity of activity, apparent size of performance environment, and level and type of energy being expended. In particular, CMM provides the listener with the sense of utmost proximity to the band, usually without any significant perspective of depth. Production strategies for achieving a high commercial standard in CMM are then presented. This is followed by a reflective commentary on the portfolio of productions, which includes discussion of the author’s transition from emulative to professional level of production and considers originality within this body of work. By presenting the subject as an important, valid and authentic scholarly discipline, this work bridges the gap between the worlds of academia and music production practice for this style.

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Guo, Jianwu. "Contemporary Chinese Marxist philosophy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq22461.pdf.

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45

Tokaryk, Wendy Alexandra. "Printmaking, a contemporary perspective." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape4/PQDD_0015/MQ55187.pdf.

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46

Gillen, Sheila Ann. "Contemporary textiles using cloqué." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0006/MQ59719.pdf.

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47

Hansen, Chris Robert. "Contemporary choral arrangements product /." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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Thesis (M.C.M.)--Western Conservative Baptist Seminary, 1987.
Bound with accompanying tape of the arrangements recorded, by the mixed choral ensemble from Milwaukie First Baptist Church, Milwaukie, Oregon and the men's chorus from Western Seminary in Portland.

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Dilley, Sherrie. "Conceptualizing the contemporary monster." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/30240.

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Through the challenges of Donna Haraway and Giorgio Agamben to Michel Foucault's theory of biopolitics I develop a conceptual frame for thinking about the sociological role of monsters in modern society. I argue that Foucault's position on the concept of monsters submerges expressions of liminality and exclusion from western society which are based on the mistaken narrative of how static natural laws and dynamic socio-political laws define the individual. Underneath the contemporary iterations of inclusive abnormality and expressions of repressed human desires, monsters illuminate the contradictory "nature" of such laws, and provide the form in which to debate who – or what – is allowed within the definition of a human individual and, therefore, within the human population.

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Scott, Kerry M., and University of Lethbridge Faculty of Arts and Science. "A contemporary winter count." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Native American Studies, 2006, 2006. http://hdl.handle.net/10133/1302.

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The past is the prologue. We must understand where we have been before we can understand where we are going. To understand the Blackfoot Nation and how we have come to where we are today, this thesis examines our history through Indian eyes from time immemorial to the present, using traditional narratives, writings of early European explorers and personal experience. The oral tradition of the First Nations people was a multi-media means of communication. Similarly, this thesis uses the media of the written word and a series of paintings to convey the story of the Blackfoot people. This thesis provides background and support, from the artist’s perspective, for the paintings that tell the story of the Blackfoot people and the events that contributed to the downfall of the once-powerful Nation. With the knowledge of where we have been, we can learn how to move forward.
x, 153 leaves : col. ill. ; 29 cm

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Gordon, Emma Catherine. "Understanding in contemporary epistemology." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/6408.

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My main aim is to contribute to the exploration of the nature of the epistemic state of understanding. It seems that the most productive way in which this might be done is by (i) investigating what sort of conditions must be fulfilled in order for one to understand, and (ii) comparing understanding’s place in certain contemporary debates to the place that knowledge has in those debates. Regarding conditions for understanding, I will argue that there are two types of understanding that are most relevant to epistemology—objectual understanding and atomistic understanding. I will contend that atomistic understanding is entirely factive while objectual understanding is moderately factive, that objectual understanding admits of degrees, that both types involve some sort of grasp of explanatory relations, that both possess a measure of luck immunity, and that both are cognitive achievements with instrumental, teleological, contributory and (crucially) final value. It must be stressed that the general accounts of both types of understanding that I attempt to provide are not supposed to be exhaustive sets of necessary and sufficient conditions—I remain particularly open to the possibility that there are further necessary conditions that are as yet undiscovered, especially for objectual understanding. Regarding understanding’s place in contemporary debates, it is perplexing that existing work does not capitalise on the thought that treating understanding in conjunction with many of the most prominent issues in recent epistemology is a worthwhile project that could yield interesting and important results. I will summarise understanding's potential significance for a number of these topics, looking at all of the following (in varying degrees of detail): factivity, coherentism, norms of assertion, the transmission of epistemic properties, epistemic luck, the nature of cognitive achievement, and epistemic value. This last topic is one that I think is particularly important to an investigation into understanding, because it is quite plausible that there is a particularly strong revisionist theory of epistemic value focused on understanding. Such a view would be one on which knowledge is not finally valuable, but one by way of which we could nonetheless explain why we might pre-theoretically think that knowledge is finally valuable. Since revisionist views often involve a claim that we should think of a different, closely related epistemic state as distinctively valuable, it is natural to consider understanding as a prime candidate for the focus of such a theory.

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Dissertations / Theses on the topic 'Contemporarya'

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