Dissertations / Theses on the topic 'Culturall history'
To see the other types of publications on this topic, follow the link: Culturall history.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Culturall history.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Ramos, Cebrián Sergio. "Espacios activos y derechos pasivos: una historia no resuelta en las políticas culturales de proximidad." Doctoral thesis, Universitat de Vic - Universitat Central de Catalunya, 2021. http://hdl.handle.net/10803/672418.
Full textAbstract:
La tesis se centra en entender cómo concibe la cultura el Estado y cómo determina que la ciudadanía tiene derecho a acceder a ella. Para ello ha de crear una serie de leyes, instituciones, programas y acciones. Esta forma de entender y facilitar el acceso a la cultura no siempre responde a las necesidades de la ciudadanía que en la actualidad ha exigido nuevas formas de acceso e instituciones en los que acceder de forma activa a la cultura. La tesis ahonda en esta tensión entre la cultura de Estado y las necesidades y exigencias culturales que surgen por parte de la ciudadanía, centrándome en cómo los espacios culturales de proximidad ya sean públicos, privados o comunes, son el lugar en que se negocia, en muchas ocasiones se tensiona, la noción de acceso y se exigen nuevas formas de entender y valorar la cultura.La tesi se centra en entendre com concep la cultura l'Estat i com determina que la ciutadania té dret a accedir-hi. Per a això ha de crear una sèrie de lleis, institucions, programes i accions. Aquesta forma d'entendre i facilitar l'accés a la cultura no sempre respon a les necessitats de la ciutadania que en l'actualitat ha exigit noves formes d'accés i institucions en els quals accedir de manera activa a la cultura. La tesi aprofundeix en aquesta tensió entre la cultura d'Estat i les necessitats i exigències culturals que sorgeixen per part de la ciutadania, centrant-me en com els espais culturals de proximitat ja siguin públics, privats o comuns, són el lloc en què es negocia, en moltes ocasions es tensa, la noció d'accés i s'exigeixen noves formes d'entendre i valorar la cultura.
The thesis focuses on understanding how the State conceives culture and how it determines that citizens have the right to access it. To do so, it has to create a series of laws, institutions, programs and actions. This way of understanding and facilitating access to culture does not always respond to the needs of citizens who have now demanded new forms of access and institutions in which to actively access culture. The thesis delves into this tension between the culture of the State and the cultural needs and demands that arise from the citizenship, focusing on how the cultural spaces of proximity, whether public, private or common, are the place where the notion of access is negotiated, often in tension, and where new ways of understanding and valuing culture are demanded.
Programa de Doctorat: Traducció, Gènere i Estudis Culturals
2
Ford, Marcia. "Una historia cultural de LatinoAmerica : a cultural history of Latin America /." [Rohnert Park, Calif.], 2003. http://members.aol.com/latinowebquest/Index.html.
Full text
3
Fontaine, Alexia. "Conditions d'émergence et développement des collections vestimentaires : patrimonialisation, muséalisation, virtualisation : regards croisés en France - Canada -Québec (XIXe-XXIe siècle)." Thesis, Lille 3, 2016. http://www.theses.fr/2016LIL30060/document.
Full textAbstract:
Troublée par l’avènement inopiné de la mode au musée, nous avons souhaité cerner puis examiner les fondamentaux du « musée de la mode », que nous considérons comme un concept historique. Depuis les années 1990, il s’impose en effet dans la sphère culturelle comme un nouveau modèle de musée. Nous nous questionnons donc sur le phénomène qui sous-tend cette effervescence. S’il fait son apparition dans les années 1980, il est issu d’une forme muséale plus ancienne que l’on désignait alors par « musée du costume ». Nous entendons ainsi mener une enquête sur le « musée de la mode » par la saisie de l’essence du phénomène muséal observable. Pour ce faire, il nous faut nous inscrire dans un temps long du patrimoine, afin de montrer les conditions d’émergence et la trajectoire des collections vestimentaires dans le paysage muséal et le développement des différentes formes muséales, du premier musée du costume au musée de la mode d’aujourd’hui. Alors que, jusqu’à présent, les chercheurs ont déterminé un basculement entre la dress museology et la fashion museology autour de 1970, nous avons distingué quatre régimes d’investissement patrimonial des collections vestimentaires, aboutissant à l’ère du « musée des modes vestimentaires ». Notre thèse a pour objectif de mettre en exergue la trajectoire du vêtement au musée, et de détailler les caractéristiques de la muséologie en devenir : décloisonnement des collections, expositions transculturelles, discours transversal et interdisciplinaire, et pour finir, muséographie anthropologiqueCurious about the unexplained advent of the fashion museum, this study originated with the task of identifying and examining the basic characteristics of the “fashion museum,” which it considers to be a historically specific construct. Since the 1990’s, the fashion museum has asserted itself in the cultural world as a new model of museum. This study inquires into the phenomena that undergirded this flourishing. If this institution first appeared in the 1980’s, it originated from an older model known as the “costume museum”. Thus I intend to undertake a study on the “fashion museum” using the observable phenomenon of the museum itself. To do so, this project inscribes the “fashion museum” in a long patrimonial tradition, demonstrating the conditions of its emergence and the trajectory that dress collections followed within the broader museum landscape, including the development of other forms of museums, from the first “costume museum” to the fashion museum of today. While, until now, researchers have determined a turning point between the dress and the fashion museology in the 1970’s, I distinguish four regimes of heritage investment in clothing collection, result in edge of a museology of the vestimentary patrimony. This study aims to reveal the trajectory that dress collections followed within the broader museum landscape, and to explain the characteristic of a museology in the making: decompartmentalization of collections, transcultural exhibitions, tranversal and interdisciplinary discourse, and anthropological museography
4
Watson, Kelly L. "Encountering Cannibalism: A Cultural History." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1149995164.
Full text
5
Marris, Alan David. "The cultural history of the werewolf." Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260040.
Full text
6
Gee, Lindsay Mary. "Lydia : a cultural and social history." Thesis, University of Oxford, 1993. http://ora.ox.ac.uk/objects/uuid:3ab35d75-60de-4739-81ad-5e4e8dfb912a.
Full textAbstract:
A date-chart of significant periods and events from the third millennium BC to the seventh century AD prefaces the work. The text's chronological span runs from the heyday of the Mermnad kingdom to that of the Roman Empire, and the primary emphasis is on giving a narrative of the country's development under Greek influence: a wide range of literary and archaeological material is employed to this end. The thesis is divided into six parts: the first deals with geographical notices in such authors as Strabo and Pliny; the second chronicles the Mermnad period, between the seventh and sixth centuries, with particular reference to contacts with the Ionian Greeks; the third describes Lydian experiences during the ensuing period of Persian hegemony, between the sixth and fourth centuries; the fourth, covering the sequel to Alexander's takeover, focusses on the culminating stages of Hellenization, discussing Sardis' Hellenistic period and the Seleukid and Attalid foundations in the countryside. The fifth part discusses the village communities, over an extended period as the topic warrants: inscriptions of the Roman period predominate, and are incorporated on the grounds that a broader panorama is thereby achieved, and that the patterns delineated will have changed only slowly and are anyway of relevance for the Hellenized country's continuing history. The sixth part, on religion native and foreign, deals with the relevant inscriptions and literature, charting the progressive influence of Persian and Greek cult but also the surviving Anatolian elements. Appendices follow on the evidence for the process of change in language use from Lydian to Greek, on Maionia and the Heraklidai, and on Mycenaean contacts, together with a catalogue of the numismatic sources for religious history. Maps and sketch-plans accompany the text at appropriate points.
7
Micaković, Elizabeth Joan. "T.S. Eliot's voice : a cultural history." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/18902.
Full textAbstract:
This thesis is a diachronic account of T. S. Eliot’s speaking voice, which, over fifty years, developed into the meticulously crafted tool of the twentieth-century author and critic and the politically and socially powerful instrument of the public intellectual. Eliot’s voice, although certainly the offspring of the nineteenth-century marriage of authorship as a bona fide profession and oral performance, was, however, unique in its responsiveness to twentieth-century legal and political debates on national identity and stability, copyright, and the powerful potential of recording technologies to both disseminate an author’s words almost exponentially whilst simultaneously encroaching on the traditional material of authorship: print. Indeed, what underpins this thesis is the argument that he was both fascinated by and actively involved in shaping those very discourses on the authority of the spoken voice in the belief that the power of the spoken word, and ultimately of his own voice, held an unrivalled ability to impact on social behaviour and national stability.
8
Eberhardt, Sophie. "Entre France et Allemagne, de la ville ancienne à la Neustadt de Strasbourg : la construction du regard patrimonial." Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30004/document.
Full textAbstract:
L’héritage de Strasbourg s’est construit dans le contexte particulier d’une ville frontalière, dans laquelle différentes influences, principalement française et germanique, ont contribué à forger un caractère singulier. Pourtant, les valeurs conférées à cet ensemble ne sont pas déterminées uniquement par le champ restrictif des considérations nationales. Depuis le Second Empire jusqu’à aujourd’hui, elles ont sans cesse évolué, en particulier depuis les décennies suivant la Seconde Guerre mondiale. Notre étude vise à faire état de la construction et de l’évolution des valeurs de l’héritage et du patrimoine de Strasbourg, et en particulier du quartier de la Neustadt, conçu et mis en œuvre pendant la période de l’annexion allemande (1871-1918) lorsque la ville devient la capitale du Reichsland d’Alsace-Lorraine. La période de l’étude s’ouvre à partir des années 1840, au moment du premier inventaire des monuments historiques et d’un grand effort de modernisation et d’embellissement par la Municipalité, et va jusqu’à aujourd’hui, à l’heure où la Neustadt suscite un intérêt croissant tant de la part des institutions locales et régionales, du milieu scientifique, que de la population.Dans ce but, ont été mobilisées les sources permettant d’éclairer ces phénomènes : procès-verbaux du conseil municipal, archives de la commission municipale des Beaux-arts, archives du service régional des Monuments historiques, manuels et revues spécialisés en urbanisme et architecture, les histoires de Strasbourg, les guides et récits de voyage ainsi que la presse quotidienne.Dans cette thèse, l’héritage est considéré comme « l’ensemble des aménagements anthropiques légués, subsistant en tout ou partie », et le patrimoine correspond à « la partie qu’on considère digne de conservation, de restauration et de mise en valeur » (Gauthiez, 2006, p. 126).Les recherches mettent en évidence que les valeurs de l’héritage et du patrimoine bâtis de Strasbourg se fondent pour une part sur les discours portés sur ces objets, mais aussi sur des silences. Ces discours et silences sont nourris de fortes considérations idéologiques liées aux doctrines et pratiques du patrimoine en France et en Allemagne, et d’ordre nationaliste. D’abord héritage méconnu, « étranger », puis patrimoine « hyper-valorisé » illustrant des influences croisées entre France et Allemagne, le patrimoine de la Neustadt se fonde également sur des conflits et le dépassement d’idéologies tout au long du XXe siècle, jusqu’à conduire à une candidature à l’inscription sur la Liste du patrimoine mondial de l’Unesco.Une autre part des valeurs de l’héritage et du patrimoine s’inscrit dans un substrat régional et local fort et la continuité des acteurs. Un décalage apparaît nettement dans certains cas entre les pratiques patrimoniales et les discours liés à ces pratiques. Les projets peuvent ainsi se poursuivre au-delà des changements d’appartenance nationale sans nécessairement que la continuité soit revendiquée. Le fort substrat régional et local a également participé de la construction d’une dimension mythologique de l’héritage et du patrimoine qui a favorisé cette cohérence (Barthes, 1957).Force est de constater également que les valeurs de l’héritage et du patrimoine dépendent en grande partie de leur état de connaissance dans les sphères institutionnelle et administrative, scientifique et de la population. Le fait que l’héritage des trois premiers quarts du XIXe siècle de Strasbourg fasse aujourd’hui l’objet d’une sous-valorisation est le résultat du manque d’intérêt porté également au sein de la sphère scientifique.L’approche choisie permet de dépasser les pratiques actuelles dans l’étude de l’architecture et de l’urbanisme en prenant mieux en compte les discours sur l’héritage bâti et en incluant des aspects anthropologiques, symboliques, politiques, sociologiques et culturels, pour exposer la construction du regard patrimonialThe heritage of Strasbourg was built within the context of a boundary city, in which different influences, mainly French and German, have contributed to forge a singular character. Nonetheless, the values attributed to the site are not only determined by the restrictive field of national considerations. From the Second Empire to nowadays, they have continually evolved, and especially since the decades following the Second World War. Our study aims at explaining the construction and evolution of heritage values of Strasbourg, mainly those of the Neustadt, conceived and built during the German annexation (1871-1918), when Strasbourg became the capital of the Reichsland Elsass-Lothringen. The period of study opens during the 1840s, when the first inventory of historical monuments was created and a program of modernisation and embellissement was carried out by the City authorities. It stretches until nowadays, when the Neustadt is arousing increasing interest from the local and regional institutions, in the scientific field and among the population. Diverse sources have been exploited during researches: Municipal Council’s minutes, archives of the Municipal Council of Fine-Arts, archives of the Regional Office for Historical Monuments, handbooks and periodicals in architecture and urban planning, histories of Strasbourg, guides and trips narrations, and the press. In the thesis, « Héritage » is conceived as the « ensemble of anthropic construction inherited, partly or completely subsisting », and « Patrimoine » as « the part of heritage identified worthy of conservation, restoration, and valorisation ». (Gauthiez, 2006, p. 126).Firstly, the researches have revealed that the values of heritage of Strasbourg are founded, for one part, on the discourses hold on these objects, as well as on the silences. These discourses and silences are nourished by strong ideological considerations linked to doctrines and practices in the heritage field in France and in Germany. Originally unknown, then considered as « foreign » and finally as heritage « hyper-valorised » illustrating the crossed-influences between France and Germany, the heritage of the Neustadt is founded on conflicts and ideological overtaking all along the XXth century. Nowadays, Unesco World Heritage inscription is envisaged for the Neustadt.Secondly, it appeared that another part of the values of heritage is inscribed within the strong regional substrate and the continuity of actors. A discrepancy appeared when comparing the discourses and practices. Projects are in some case continued beyond the national changes. The important regional substrate has also allowed the construction of a mythological dimension to heritage (Barthes, 1957), and has strengthened the coherence in the urban landscape.Thirdly, the values of heritage rely for a large part on the knowledge within the institutional and administrative spheres, the scientific field, and among the population. The fact that the heritage of the first quarters of the XIXth century of Strasbourg is today under-valorised is the result of a lack of interest within the academic field. The approach selected allows overtaking the current practices in the study of architecture and urban planning by better taking into account the discourses on heritage and by including anthropological, symbolical, political, sociological and cultural aspects, so as to expose the construction of heritage gaze (regard patrimonial)
9
Perez, Zapico Daniel. "Production et usages sociaux de l'électricité dans les Asturies (1880-1936)." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLV011.
Full textAbstract:
A la fin du XIXe siècle, le fluide électrique a été responsable des transformations profondes dans la vie quotidienne de la société asturienne, qu'incluaient, par exemple, des nouvelles formes d'organiser le temps social, de planifier le travail et les loisirs. L'électricité a consacré la rupture dans la séparation rigide entre la nuit et le jour qui existait avant de son apparition, et s'est révélée comme le meilleur moyen d'éclairage en surpassant aux huiles végétales ou minérales et au gaz d'éclairage. L'électricité alors est devenue une image symbolique du progrès et sa brillante lumière a commencé à conquérir l'espace public, l’espace de travail et même le domaine privé, comme une métaphore du triomphe de la société moderne industrielle et en induisant des modifications dans les habitudes et les coutumes. Ce qui est proposé avec cette étude c’est, par conséquent, un projet de recherche capable d'établir les commencements et le premier développement de l'industrie électrique dans les Asturies, comme contribution générale à l'étude du processus espagnol d'électrification. Cette étude essaie également de déployer une ample vision dans l'analyse, capable d'intégrer les multiples facettes et les implications du phénomène. Surtout, il y aura une attention spéciale aux approches socioculturelles du phénomène électrique, comme ceux qui se rattachent aux loisirs, à la divulgation de l'électricité, l'électricité et les espaces de représentation urbaines, l’imaginaire et les représentations de cette énergie ou à l'électricité et la vie quotidienne ou l'espace domestique. Bref, il s'agit de développer une vraie histoire sociale et culturelle de l'électricité, de ses représentations et ses pratiques à partir en utilisant les Asturies, cette région espagnole, comme laboratoire pour analyser l'interaction mutuelle entre techniques, société et cultureAt the end of the 19th century, the electricity has been responsible for deep modifications in the daily life of the Asturian society that included, for example, new forms of organizing the social time or planning the paces of work and leisure. Electricity establishes the break in the rigid separation between night and day which existed prior to its appearance, and proved itself as the best way of lighting in surpassing other technologies as mineral or vegetable oils and gas lighting. The electricity then became a symbolic image of progress and its brilliant light began to conquer the public space, the workspace and even the private sphere, as a metaphor for the triumph of modern industrial society and by inducing changes in habits and traditions. What comes with this study is, therefore, a research project capable of establishing the beginnings and the first development of the electric industry in Asturias, a peripheral region in Spain, as a general contribution to the study of the Spanish electrification process. This study also tries to deploy a broad vision in the analysis, capable of integrating the many implications of the phenomenon. Above all, there is special attention to the socio-cultural approaches to the electrical phenomenon, such as those which relate to the leisure and the sociability, to the cultural outreach of electricity, electricity and urban spaces of representation, the imaginary of this energy or the relations between electricity, and everyday life or the domestic sphere. In short, it is to develop a true social and cultural history of electricity, its representations and practices from using Asturias, this Spanish region, as a laboratory to analyze the mutual interaction between technology, society and culture
10
Hatherell, William. "A cultural history of Brisbane 1940-1970 /." [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17644.pdf.
Full text
11
Armstrong, Christopher. "Placing Atlantic Canada, community, cultural history, politics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0020/NQ43463.pdf.
Full text
12
Driscoll, P. M. "A cultural history of Wiltshire, 1750-1800." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598655.
Full textAbstract:
This thesis constructs the first integrated cultural history of a county as a unit for the eighteenth century. Surveying a diversity of environments, urban and rural, this study emphasises the variety of cultural activities and contexts within a single English county. Such a detailed study of a whole county – not just major towns – brings geography to the fore, recognising the importance of not only ‘natural’, but also human, geography – in the form of communications networks, urban planning, and local economies – in shaping provincial cultural life in the eighteenth century. The thesis mines a rich seam of source material including local newspapers, books, diaries and correspondence to explore five central aspects of Wiltshire’s cultural life. Each of the chapters – on religion, sociability, sport, the theatre, and music – reveals important details of English provincial life, from religious, social, and economic imperatives to leisure pursuits and pastimes. Together, the chapters form a detailed case study of Wiltshire’s own cultural life and the provincial county’s relations with regional, national, and metropolitan social and cultural influences. Because of its breadth of focus and the diversity of its sample, this thesis creates a body of material that is used to analyse key themes in the historiography of eighteenth-century society and culture. The thesis thus employs its empirical geographical basis to interrogate concepts and models such as class, commercialisation, politeness and the urban renaissance, and to evaluate the way these developments played themselves out on the ground in Wiltshire. The county history therefore not only extends historians’ knowledge of local provincial culture and society, but contributes to an understanding of eighteenth-century English culture at large.
13
Stevens, Charlotte. "Snapshots from the cultural history of taste." Thesis, Loughborough University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416724.
Full textAbstract:
This thesis explores the cultural, or literary history of taste as a social construct. Taking the mid-eighteenth century as its starting point, the thesis adopts an historicist approach to five very particular texts from this vast history. It begins by focusing on three novels: firstly, Henry Fielding's Tom Jones (1749) which was published at a time when there was increasing pressure to create `standards' of taste; secondly, Jane Austen's Sense and Sensibility (1811) which belongs to a moment that scrutinised these `standards'; and thirdly, Charles Dickens's Oliver Twist (1837), which reflects an era in which taste is driven by commercial forces. The final chapters explore a significant twentieth-century development in the history of taste: namely, the adaptation of text into film. Here, David Lean's Oliver Twist (1948) and Tony Richardson's Tom Jones (1963) become the focus for close investigation. I argue that Lean's Oliver Twist very much belongs to a post-war Britain in which the acquisition of taste was part of a wider framework for maintaining national and social cohesion. Richardson's Tom Jones, I argue, must be read in relation to the cultural revolutions in tastet hat dominatedth e early 1960s.
14
Downes, Aviston Decourcei. "Barbados 1880-1914 : a socio-cultural history." Thesis, University of York, 1994. http://etheses.whiterose.ac.uk/14001/.
Full text
15
Le, Hegarat Thibault. "Télévision et patrimoine, des origines à la fin des années 1990." Thesis, Université Paris-Saclay (ComUE), 2015. http://www.theses.fr/2015SACLV018.
Full textAbstract:
Ce travail vise à enrichir la connaissance du patrimoine à travers l’étude de ses représentations à la télévision. Il repose sur l’étude des programmes de la télévision française des années 1950 aux années 1990 qui ont traité de ce sujet, sans distinction de genre de programme ni de type de patrimoine. La télévision est devenue, au cours de la deuxième moitié du XXe siècle, le média le plus populaire auprès des Français. Dans le même temps, la notion de patrimoine s’est considérablement enrichie, son sens a muté, et son public s’est très largement renouvelé et popularisé. Cette thèse d’histoire se propose d’étudier les représentations d’un objet culturel dans un média de masse. L’enjeu est d’abord de mener l’étude d’un sujet à la télévision et de souligner les évolutions de son traitement, de sa programmation, de sa visibilité. Il s’agit également de comprendre comment les professionnels de la télévision entendent traiter ce sujet et ce qu’ils souhaitent proposer aux téléspectateurs. Comment le patrimoine est-il défini et présenté à la télévision ? Aussi, la télévision est un média qui a ses particularités. Il s’agit de comprendre si elle a affecté l’image du patrimoine. Ce faisant, il s’agira de comprendre comment la télévision a pu accompagner les évolutions de la notion et le renouvellement du public du patrimoineThis doctoral dissertation aims at helping the understatement of cultural heritage (or patrimony) through the study of its representations (the way cultural history defines them) in a mass media. This works consists in the study of French television programs, aired form the early 1950s to the late 1990s. During this period, in France, television became the media with the biggest audience. Also, the notion of patrimony went through considerable changes, becoming a social phenomenon: and increasing number of French citizens, from all social backgrounds, became interested in heritage. First of all, this work is a study of a subject that was treated in a variety of genres, that became more and more visible over time, and its popularity rises both in and out of the medias. How did the producers and journalists defined patrimony and what did they intend to propose to the audience with it? This work ambitions to better understand the democratization of patrimony in the French society. Was television involved in any way in this change? This media, with its particularities, may have offered a different understanding of the notion, and the representations of patrimony on television may have affected le way viewers see it
16
Peters, Philip. "Historical cultural memory celebrated through architecture." This title; PDF viewer required. Home page for entire collection, 2006. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
Full text
17
Lauritzen, Lydia J. "THE MAKING OF BIOETHICAL HISTORY." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1259859539.
Full text
18
Jokilehto, Jukka. "A history of architectural conservation /." Click here to access, 1986. http://www.iccrom.org/eng/e-docs/ICCROM_05HistoryofConservation.pdf.
Full text
19
Noël, Lison. "The French New Novel : réception du Nouveau Roman par le milieu artistique américain : 1963-1981." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100160/document.
Full textAbstract:
Au moment décisif de l'histoire culturelle franco-américaine où s'inverse la hiérarchie des capitales artistiques entre Paris et New York, le Nouveau Roman français connaissait une certaine fortune aux États-Unis, en particulier dans la communauté artistique regroupée autour de l'Art Minimal. À la faveur d'un double transfert - du champ littéraire vers le champ artistique et de la France vers les États-Unis -, le Nouveau Roman retenait l'attention d'une partie de l'art américain, qui tentait de se construire contre l'art européen du XIXe siècle mais avec la littérature française de la deuxième moitié du XXe siècle. Fondé sur une somme d'indices fournis par ces artistes et complétée par des enquêtes historiques et sociologiques, une collecte d'articles, une recherche théorique et des études d’œuvres significatives, ce travail tente d'expliquer les raisons de cette fortune et d'analyser les aboutissements théoriques et esthétiques de la réception du Nouveau Roman par le milieu artistique américainIn an key Franco-American cultural and historical moment when New York takes Paris's place as the world artistic capital, the French New Novel achieved certain successs in the United States, especially in the Minimal Art community. Owing to a double transfer – from the literary field to the artistic field and from France to America -, some American artists drew attention to the French New Novel. While they were developing their art against 19th century european art, they created it with 20th century French literature. This work is based on an amount of clues given by these artists, supplented by historical and sociological investigations, a collection of articles, a theorethical research, and studies of significant works of art, in an attempt to understand the reasons of this success and the theorethical and aesthetic realizations of the reception of the New Novel by the American artistic milieu
20
Falk, Marcus. "Cultural Materiality : The correlation between material and cultural capital in the late eighteenth century Stockholm elite burgher home." Thesis, Uppsala universitet, Historiska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-360585.
Full textAbstract:
The eighteenth century saw the slow but steady rise of the middling classes to their nineteenth century social and cultural prominence, reinforced by a changing political landscape and the steadily increasing importance of the market. As the social and cultural power of the city burghers making up the majority of the middling classes grew, so did they start to consume in a manner to reflect to their new status in society. The question that arises then is more exactly how this group consumed, what types of objects that became important and what type of status that became the most paramount. Since status and social groups can differ greatly between both times and places, focus of this investigation is the burgher elite of Stockholm, the social, economical, and cultural centre of Sweden during the whole of the early modern era. By using a combination of Bourdieu's capital theories and Erving Goffman's theories on the presentation of self the inventories of fourteen elite burgher households has been analysed in order to investigate how these individuals constructed their home to present their own perceived social and cultural status. Through a thorough and theoretical investigation of these early modern front regions it can be revealed that the traditional representations of cultural capital, the main form of symbolic status capital, such as paintings and books, albeit important, constituted but a minor part of the capital presentation in the home. Instead it appears as if the most important status capital is presented through sociability, the ability to host social events or, if that option is unavailable, attend social events. Objects with the express function of sociability, such as tea- and dinner-ware, together with chairs, tables, and fashionable interior decoration suggests that sociability indeed stood at the forefront for the presentation of status for the late eighteenth century Stockholm burgher. At the same time, fashionability appears to have been extremely important, with almost all of the investigated households going to great lengths to stay up to date with the most recent trends in both furniture, colours, literature, and china. Much more research is however needed in order to really understand the structures of status and how it was expressed during the early modern times, and especially comparative studies between estate borders is needed in order to understand the status relations between social groups and how this affected status presentations.
21
Oléron-Evans, Émilie. "Transferts culturels et historiographie de l'art : le cas de Nikolaus Pevsner (1902-1983)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030098.
Full textAbstract:
Cette thèse vise à démontrer que les travaux de l’historien d’art et d’architecture britannique d’origine allemande Nikolaus Pevsner (1902-1983) ont joué un rôle majeur dans l’accession de l’histoire de l’art et de l’architecture au statut de discipline universitaire au Royaume-Uni à partir des années 1930-1940. L’étude de ce cas particulier et des constellations et réseaux qui entrent en jeu durant son émigration vers l’Angleterre en 1933 apportent un éclairage différent sur le champ de l’histoire des migrants intellectuels en rappelant le conflit latent entre l’idéal d’universalisme de la science et les vecteurs socio- culturels nationaux qui président aux déplacements transnationaux.Notre recherche se concentre sur les transferts méthodologiques, institutionnels et historiographiques qui ont fait de la carrière de Pevsner un moment-clé de l’historiographie de l’art, de l’architecture et du design et aborde les domaines suivants : la question du Mouvement moderne, l’utilisation du concept d’espace dans le discours architectural d’après le principe de l’empathie (Einfühlung) ou encore dans l’exploration, à travers la méthodologie de la géographie de l’art, de la production artistique et du patrimoine architectural du pays d’accueil de Pevsner.Il s’agit de montrer que l’oeuvre de médiateur d’un historien d’art entre sa matière et la société se déploie aussi hors du seul cadre universitaire. Cette thèse expose comment Pevsner se fait une place dans la culture britannique en tant qu’éditeur, homme de radio, critique d’art, autant d’activités qui se basent sur des modèles allemands, mais qui font progressivement de l’historien déplacé, interprète de sa culture d’accueil, une véritable institution culturelleThis thesis demonstrates how the works of art and architectural historian Nikolaus Pevsner (1902-1983), a British scholar of German origin, played a major part in the accession of the history of art and architecture to the status of an academic discipline in the United Kingdom in the 1930s and 40s. This case study, along with the various networks that played a part in his displacement from Germany to Britain in 1933, sheds a different light on current research on the history of émigré intellectuals, as it seeks to show that there is a latent conflict between the ideal of universalism in science and the national socio-cultural vectors at play in transnational displacements.Our research focuses on methodological, institutional and historiographical transfers that made Pevsner’s career into a milestone in the historiography of art, architecture and design. It tackles the main aspects of his contribution, from the issue of the Modern movement, through the use of the concept of space in the architectural discourse based on the principle of empathy (Einfühlung), to the exploration of the artistic production and the architectural heritage of Pevsner’s country of adoption.Our contention is that the role of an art historian as a mediator between his subject and society goes beyond the realm of academia. This thesis shows how Pevsner found a place in British culture as editor, broadcaster and art critic, while basing these activities on German models, and how these activities gradually transformed an interpreter of culture into a cultural institution
22
Hackenesch, Silke [Verfasser]. "Chocolate and Blackness : A Cultural History / Silke Hackenesch." Frankfurt am Main : Campus Verlag, 2017. http://www.campus.de/home/.
Full text
23
Tsetskhladze, Gocha R. "Cultural history of Colchis (6th-1st centuries BC)." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244242.
Full text
24
Downing, Phoebe C. "Fabians and 'Fabianism' : a cultural history, 1884-1914." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:425127c1-94c1-4d20-ba58-fdd457c1f6b8.
Full textAbstract:
This thesis is a cultural history of the early Fabian Society, focusing on the decades between 1884, the Society’s inaugural year, and 1914. The canonical view is that ‘Fabianism,’ which the Oxford English Dictionary defines as the ‘doctrine and principles of the Fabian Society,’ is synonymous with State socialism and bureaucratic ‘efficiency.’ By bringing the methods of cultural history to bear on the Society’s founding members and decades, this thesis reveals that ‘Fabianism’ was in fact used as a dynamic metonymy, not a fixed doctrine, which signified a range of cultural, and even literary, meanings for British commentators in the 1890s and 1900s (Part 1). Further, by expanding the scope of traditional histories of the Fabian Society, which conventionally operate within political and economic sub-fields and focus on the Society’s ‘official’ literature, to include a close examination of the broader discursive context in which ‘Fabianism’ came into being, this thesis sets out to recover the symbolic aspects of the Fabians’ efforts to negotiate what ‘Fabianism’ meant to the English reading public. The Fabians’ conspicuous leadership in the modern education debates and the liberal fight for a ‘free stage,’ and their solidarity with the international political émigrés living in London at the turn of the twentieth century all contribute to this revised perspective on who the founding Fabians were, what they saw themselves as trying to achieve, and where the Fabian Society belonged—and was perceived to belong—in relation to British politics, culture, and society (Part 2). The original contribution of this thesis is the argument that the Fabians explicitly and implicitly evoked Matthew Arnold as a precursor in their efforts to articulate a kind of Fabian—latterly social-democratic—liberalism and a public vocation that balanced English liberties and the duty of the State to provide the ‘best’ for its citizens in education and in culture, as in politics.
25
Munro, Lisa L. "Inventing Indigeneity: A Cultural History of 1930s Guatemala." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/347326.
Full textAbstract:
Popular images of indigenous cultures, both past and present, have served to construct pernicious racial stereotypes of native peoples throughout the Americas. These stereotypes have led to the discrimination and marginalization of native peoples; however, they also have functioned to construct identities and cultural values of non-Indian people. Existing scholarship on the representation of native peoples of Latin America has focused on the ways that nineteenth-century elites in that region appropriated certain elements of indigenous cultures to construct a sense of national unity and historical continuity. However, this scholarship has overlooked the ways that images of the Maya produced social and cultural identities outside of Latin America, as the U.S. public avidly consumed a variety of images of the Maya and commercialized their material culture in the early twentieth century. Analyzing the question of identity construction through the appropriation of Mayan culture, this dissertation focuses on the U.S. construction and use of a particular racial discourse about native people. Public audiences consumed racial discourses in the context of a series of transnational cultural initiatives, including international expositions, popular film, and textile exhibits, which shaped public understandings of the Maya. I argue that despite growing public interest in Mayan culture and shifting understandings about the relationship between race and culture, these venues of visual display reinforced and reproduced older racial discourses of Indian degeneracy. I examine documentary evidence, such as travel brochures, newspapers, and archival materials to show that sites of visual display invented a new language of "indigeneity," which functioned to define not only native peoples, but also to shape U.S. public social identities. I conclude that the production of racial discourses of the Maya as culturally and racially inferior throughout the twentieth century defined contemporary understandings of U.S. identities and the role of indigenous history.
26
Silva, Érica Cristhyane Morais da [UNESP]. "Conflito político-cultural na antiguidade tardia: o levante das estátuas em Antioquia de Orantes (387 d.C.)." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/103081.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:32:22Z (GMT). No. of bitstreams: 0
Previous issue date: 2012-03-22Bitstream added on 2014-06-13T20:23:38Z : No. of bitstreams: 1
silva_ecm_dr_fran.pdf: 3062689 bytes, checksum: 91c552b0f528b7396b9536c367712259 (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O Levante das Estátuas tem sido visto como um dos maiores casos de sedição do século IV d.C. As documentações textuais do período são abundantes. Nós podemos ter notícias acerca dos acontecimentos deste conflito a partir de diferentes perspectivas e mediante múltiplos testemunhos antigos e também por meio da historiografia. Tradicionalmente, as documentações principais que nos fornecem as primeiras narrativas acerca dessa sedição são As Homilias sobre as Estátuas ao Povo de Antioquia, de João Crisóstomo, e As Orações sobre o ‘Levante das Estátuas’, de Libânio de Antioquia. Na presente pesquisa, nós iremos estudar o Levante das Estátuas do ponto de vista de João Crisóstomo e Libânio de Antioquia. Nosso objetivo é relacionar ambas essas perspectivas fazendo comparações e paralelos entre elas. A compreensão moderna acerca da relação entre as perspectivas de João Crisósotomo e Libânio de Antioquia sobre o Levante das Estátuas é, frequentemente, demonstrada em termos de uma oposição política desigual. A perspectiva de João Crisóstomo é, geralmente, imersa em um contexto no qual o cristianismo é dominante e a perspectiva de Libânio e inserida em um ambiente onde o paganismo já não exerce influência e poder. Essa Tese de Doutorado discorrerá sobre os escritos, ações e relações de João Crisóstomo e Libânio de Antioquia de modo que possamos argumentar que ambos eram influentes em espaços e círculos sociais específicos e o tema do Levante das Estátuas é um claro exemplo da autoridade comparável entre ambos os autores antigos. Nosso objetivo também é compreender as perspectivas de João Crisóstomo e Libânio em seu contexto original, ou seja, dentro do contexto do Império Romano, especialmente a partir do cenário da cidade de Antioquia de Orontes, no particular...
The ‘Riot of the Statues’ is seen as one of the major seditions in fourth century A.D. Primary sources about the theme are plentiful. We learn about its accounts from different perspectives and from multiple ancient testimonies and historiography. Traditionally, the main primary sources which give us a first narrative on the sedition are The Homilies on the Statues to the People of Antioch by John Chrysostom and The Orations upon The Riots of A.D. 387 by Libanius of Antioch. In the present research, we will study ‘The Riot of the Statues’ from the point of view of John Chrysostom and Libanius of Antioch. Our aim is to relate both perspectives making comparisons between them. Our modern understanding of the relationship between John Chrysostom and Libanius of Antioch’ analyses about ‘The Riot of the Statues’ is often posed in terms of an imbalanced political opposition. John Chrysostom’s point of view on the riot is often immerged in a Christianity prevailing context whereas Libanius’ lies in an environment in which Paganism is already lacking power and influence. This dissertation will explore the writings, actions and connections of John Chrysostom and Libanius with the purpose to show that both were influential in particular fronts, and that the subject of ‘The Riot of the Statues’ is one of the most clear examples of their comparable authority. We also intend to understand John Chrysostom and Libanius’ ideas about the riot in its original context, i.e., in the Later Roman Empire period, concerning especially the Antioch-on-the-Orontes city settings, in a particular sense, and in Late Antiquity, in a broader meaning, considering all the particular features of this specific riot and also its relationship to the group of fourth century Antiochenes conflicts... (Complete abstract click electronic access below)
27
Rodríguez, Silva Ana. "Gestión de la cultura en Chile: el estado versus los privados." Tesis, Universidad de Chile, 2011. http://repositorio.uchile.cl/handle/2250/135120.
Full textAbstract:
Memoria para optar al título de periodistaA partir del retorno a la democracia en Chile en 1990, los gobiernos de la Concertación focalizaron su atención en el campo de la cultura en generar una institucionalidad hasta entonces ausente en el país. Para eso se creó el Consejo Nacional de la Cultura y las Artes (CNCA), dando curso a través de esta entidad –cuyo director posee rango ministerial– a una serie de políticas destinadas a potenciar la creación artística y cultural del país. Entre ellos, los fondos que se entregan año a año en apoyo a las diversas disciplinas artísticas. La subvención estatal se erigió como un potente agente destinado a impulsar la actividad cultural. Nuevas formas de entender la cultura aterrizan en esta institucionalidad con la llegada de la derecha al poder a través del Presidente Sebastián Piñera el 11 de marzo de 2010. La premisa de que el Estado no puede ni debe actuar como principal financista de los proyectos culturales del país se instaura poco a poco, intentando dar paso a la idea de que son las instituciones privadas quienes debieran entrar al juego. Para la “nueva forma de gobernar”, los conceptos de cultura y emprendimiento económico no son antagonistas, sino complementarios. Comienzan a darse una serie de cambios en el quehacer ministerial que siguen ese norte, intentando incorporar a los privados en la llamada “industria”. Se realizan seminarios, cambian las orientaciones presupuestarias del CNCA y se instauran nuevas políticas. Sin embargo, experiencias de proyectos de gestión cultural que intentan subsistir combinando aportes estatales y privados, siguen fracasando. La idea de que es posible generar mayor productividad de las obras no siempre es aplicable cuando se trata de cultura y en su gran mayoría los proyectos artísticos no generan interés de mercado como para incentivar a los privados a inyectar recursos. Esta investigación periodística apunta a una revisión crítica de hechos y proyectos para entregar elementos que evidencien cómo las orientaciones políticas de los distintos gobiernos influyen en el modelo de desarrollo cultural de un país, así como en las ideas respecto a las funciones y objetivos del arte en la sociedad. Además demostrar a través de las comparaciones cómo las políticas culturales que se establecen determinan el desarrollo de proyectos y la orientación de los mismos en determinado periodo de tiempo. Para esto, se realizará una breve contextualización del estado de la cultura en Chile desde el retorno de la democracia y una revisión de algunos acontecimientos, medidas y políticas implementadas en el transcurso del nuevo gobierno de Sebastián Piñera. Con el objetivo de ejemplificar el devenir de los proyectos culturales, se tomará el ejemplo de la organización Festival Teatro Container de Valparaíso, nacida en 2008 en Valparaíso. El caso de este proyecto se utilizará para ilustrar la historia de una iniciativa que intentó –e intenta– combinar financiamiento privado y estatal, entregando espectáculos de calidad para la ciudad y trabajando en la generación de audiencias y hábitos de consumo cultural. Haber trabajado desde un comienzo en esta organización me permite conocer el funcionamiento del proyecto desde adentro, así como los logros, las dificultades, los problemas del financiamiento y el desafío de mantener una estructura organizacional funcional en el tiempo. A esta experiencia se sumará un análisis sobre la importancia que la institucionalidad cultural del Estado ha pretendido que Valparaíso adquiera dentro del panorama cultural nacional, a través de los años y en su situación actual.
28
Neufeldt, Bradley. "Cultural confusions, oral/literary narrative negotiations in Tracks and Ravensong." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq22548.pdf.
Full text
29
Arias, Aura Esnelia Hurtado. "Cartas, rádios e impressos: cultura escrita camponesa na Colômbia, 1953-1974." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-13092016-151826/.
Full textAbstract:
Em 1953, iniciou-se uma das campanhas de alfabetização para a população rural mais importantes e inovadoras da história da Colômbia. A Radio Sutatenza, uma emissora paroquial que havia criado as bases para um método de alfabetização através do rádio, encontrava condições políticas favoráveis para expandir sua cobertura a boa parte do território nacional. Os violentos confrontos partidários do mundo rural e uma suposta ameaça de expansão do comunismo convenceram a Igreja da urgência de alfabetizar e educar a população camponesa. Para isso, as autoridades eclesiásticas colombianas encontraram no governo nacional e nas agências de cooperação internacional seus principais aliados. Foi assim que se criou a Acción Cultural Popular (ACPO), uma instituição com uma estrutura burocrática capaz de implementar os programas educativos pelo rádio. A ACPO se organizava em torno de divisões especializadas em radiodifusão, produção editorial, formação de líderes e comunicação epistolar com a população camponesa vinculada a seus programas educativos, entre outras. Isso criou um fenômeno inédito de massificação da comunicação epistolar em meio à população camponesa. O objetivo desta pesquisa é aproximarmo-nos das dimensões, cartografias e fluxos de tal fenômeno, das formas e sentidos que ele adquiriu entre os camponeses recém-alfabetizados que empunhavam lápis e papel para comunicar-se com a emissora e, finalmente, da interação entre o rádio, os impressos e a correspondência.In 1953, one of the most important and unprecedented literacy campaigns for rural population started in Colombia. Sutatenza Radio, a parish station that had created the basis for a literacy instruction method through the radio, was favored by political conditions that allowed the expansion of its coverage in the country. The violent partisan confrontations in rural areas and the threat of a possible spread of communism convinced the Church of the urgency to educate the rural population. In order to do this, the Colombian church hierarchy found in the national government and international cooperation agencies its main allies. Thus was how the ACPO (Popular and Cultural Action) was created. ACPO was an institution with a bureaucratic structure capable of implementing educational programs for radio. The ACPO was organized in departments that were specialized in broadcasting, publishing, training of leaders and epistolary communication with the rural population that was part of the educational programs. This created an unprecedented phenomenon of massification of epistolary communication in the rural population. The objective of this research is to approach the dimensions, mapping and flows of this phenomenon; the forms and meanings it acquired among the newly-literate peasants who took pencil and paper to communicate with the radio station; and finally, the interaction between radio, print and the exchange of letters.
30
Greene, Chloe Blysse. "Community Cultural Imprints: a Guide to Alter the Space Black Americans Occupy through Culturally Competent Urban Planning." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461329906.
Full text
31
Bouchareb, Hind. "Penser et mettre en oeuvre la lecture publique : discours, débats et initiatives (1918-1945)." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2049/document.
Full textAbstract:
C’est dans les années 1910 qu’apparut l’expression de lecture publique, qui se popularisa dans les décennies suivantes. Elle désignait alors le service rendu par les bibliothèques publiques, entendues comme bibliothèques ouvertes à tous, qu’elles dépendent de collectivités publiques ou de groupements privés. C’était un nouveau modèle de bibliothèque que défendaient les « modernistes », ces bibliothécaires appelant, à travers leurs discours, à la modernisation des bibliothèques publiques, c’est-à-dire à l’application de mesures propres à organiser la lecture publique et à ouvrir les bibliothèques au plus grand nombre. Pour autant, tous les modernistes n’avaient pas exactement les mêmes motivations ni les mêmes opinions : le développement de la lecture publique n’a pas été aussi linéaire et progressif que l’histoire des bibliothèques a pu le laisser croire. Il importait donc d’étudier comment s’était forgé cet idéal moderniste, quelles en étaient les nuances et les limites, et l’évolution qu’il avait connue de la fin de la Première guerre mondiale à la création de la Direction des bibliothèques et de la lecture publique, à la Libération. Par ailleurs, la définition de la lecture publique était inhérente à la construction de l'identité professionnelle des bibliothécaires, qui s'opérait à cette période. Une grande attention a ainsi été portée aux parcours professionnels des acteurs de la lecture publique, ainsi qu'à leur formation et à leurs réseaux, pour comprendre les diverses influences qui s'exerçaient alors. Ce travail s'appuie sur la littérature professionnelle de l'époque et sur des sources archivistiques nombreuses et variées (archives de l'inspection générale des bibliothèques, de l'Association des bibliothécaires français, de l'Association pour le développement de la lecture publique, archives de bibliothèques municipales, archives privées...). Peu exploitées jusqu'à alors, elles ont permis de renouveler le regard traditionnellement porté sur les débuts de la lecture publique en FranceThe phrase « lecture publique » appeared in the 1910's and spread in the following decades. It meant the activity of public libraries, libraries opened to everyone, whichever their legal status. It was a new paradigm for libraries that « modernists » advocated for ; the « modernists » were librarians who demanded public libraries' modernisation, which consisted in organizing the service and opening libraries to the general public. Nevertheless, modernists did not share the same exact motivations nor the same opinions : public libraries development was not so linear and gradual that the history of libraries led to believe. Therefore, it was important to study how this modernist ideal was created, which were its variations and limits, and how it had evolved from the First World War to the creation of the « Direction des bibliothèques et de la lecture publique » in 1945.Furthermore, defining the concept of « lecture publique » was inseparable from the process of professional identity construction which took place at this time. That is why working lives, trainings and networks of active public librarians were closely examined, in order to understand the influences at stake.This work is based on professional literature and varied archival sources (archives of the general inspection of libraries, the Association des bibliothécaires français, the Association pour le développement de la lecture publique, archives of public libraries and librarians...). Barely studied before, they allowed us to change the traditional outlook on the beginnings of modern public libraries in France
32
Fallan, Kjetil. "Modern Transformed : The domestication of industrial design culture in Norway, ca. 1940-1970." Doctoral thesis, Norwegian University of Science and Technology, Faculty of Architecture and Fine Art, 2007. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-1687.
Full textAbstract:
The doctoral thesis sets out to describe and analyse how the mid-twentieth century Norwegian design community domesticated ideologies partly inherited from the traditional applied art movement (brukskunstbevegelsen), partly imported from various international currents of the so-called “modern movement”, in their co-construction of industrial design culture. The empirical studies follow two paths/levels; the ideology/propaganda debated in and mediated through the design magazine Bonytt, and the strategies/materiality/products developed by the ceramics/earthenware/porcelain manufacturer Figgjo. As such, the thesis is a cultural history of industrial design, where design (as) culture is seen as a sort of dialectic or discourse between ideology and practice. This often uneasy relation between ideology and practice is the leitmotif of the study. The concept of domestication, along with other theoretical frameworks and methodological tools appropriated from STS, becomes valuable when studying this process by following the actors in their construction, negotiation and mediation of these ideologies as played out in their main debate forum, the design magazine Bonytt. However, the domestication of industrial design culture in Norway does not end with the writings of campaigning designers, enthusiastic journalists, ardent academics and organization men. The mediations between ideology and practice is also traced in a domestication perspective. As such, the manufacturing industry - here represented by the ceramic tableware manufacturer Figgjo - represents a second site of domestication, where the ideologies undergo new negotiations and transformations in meeting other users, requirements and circumstances.
33
Leplongeon, Pauline. "Histoire culturelle de la noix et du noyer en Occident de l'Antiquité romaine au XVIIIè siècle." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP038/document.
Full textAbstract:
A travers l'histoire culturelle de la noix et du noyer en Occident, ce sont tous les rapports des sociétés passées au monde végétal qui sont interrogés. Que savaient ces sociétés de la noix et du noyer ? Que faisaient-elles de cet arbre et de son fruit ? Enfin, que pensaient-elles de ce végétal ? Quelles croyances et quels symboles la noix et le noyer ont-ils inspiré à l'imagination des hommes ? Autant de questions auxquelles il a été possible de répondre dans ce travail grâce à l'élaboration d'une méthodologie nouvelle prenant en compte le caractère de longue durée et l'interdisciplinarité inhérente à un tel sujet. Ainsi, par l'analyse de sources nombreuses, issues de divers champs disciplinaires comme la botanique, la médecine, l'histoire de l'alimentation, l'archéobotanique, les mythologies et les religions, les littératures populaires ou encore la parémiologie, une histoire culturelle de la noix et du noyer a pu être écrite. Cette histoire propose une promenade à travers les sources et les siècles, de l'Antiquité romaine au XVIIIè siècle, qui dévoile les évolutions majeures relatives aux savoirs, aux usages, aux mentalités et aux sensibilités qui ont entouré la noix et le noyer en OccidentThrough the cultural history of the walnut and the walnut tree in the Occident, it is all the relationships between past societies and the vegetal world that are being examined. What did these societies know about the walnut and the walnut tree ? What did they do with this tree and its fruit ? What did they think about it ? How did the walnut and the walnut tree capture the human imagination ? What beliefs and symbols emerged from those conceptions ? It has been possible to answer those questions through the development of a new methodology that takes into account the long-term history and an interdisciplinary approach, inherent to such a subject. Thus, through the analysis of various primary sources from numerous disciplines such as botany, medecine, the history of food, archeobotany, mythologies and religions, popular literatures or proverbs, a cultural history of the walnut and the walnut tree has been elaborated. This history offers a walk, through sources and centuries, from roman Antiquity to the XVIIIth century, and reveals the major developments and shifts regarding knowledges, uses, mentalities and sensibilities concerning the walnut and the walnut tree in the Occident
34
Normand, Hélène. "Les rapaces dans les mondes grec et romain : catégorisation, représentations culturelles et pratiques." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30025.
Full textAbstract:
Dans cette thèse, nous nous intéressons au regard porté par les hommes de l’Antiquité grecque et romaine sur les oiseaux de proie. Nous nous concentrons d’abord sur des questions de classements zoologiques, afin de voir dans quelle mesure il est possible de parler d’une catégorie de rapaces. Nous étudions ensuite la place que tiennent ces oiseaux dans l’imaginaire en cernant l’image culturelle des zoonymes les plus courants. Enfin, la question des rapports que les hommes entretiennent avec les rapaces amène à se demander si les rapaces ne peuvent être rangés (ou dispersés) dans diverses catégories dont la cohérence n’est peut-être pas simplement zoologiqueIn this thesis, our general aim is to try to know what people thought about birds of prey inGreek and Roman Antiquity. We focus first on zoological classes in order to see in what waywe can speak about raptors as a category. We then study the cultural image for the most usualzoonyms in order to find what place these birds have in the imagination. Lastly, through thequestion of the relationships between humans and raptors, we wonder whether these birdscan’t belong to some other categories whose unity is maybe not only zoological
35
Schillinger, Stephen. "Common representations : Jack Straw and literary history as cultural history on the early modern stage /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9363.
Full text
36
Poltan, Andreas. "Translating Swedish Automotive History : Terminology, cultural adaptations and connectors." Thesis, Växjö University, School of Humanities, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2366.
Full textAbstract:
This essay is an analysis of a translation of the chapter Success Begets Success – From 1800 to C70 Coupé in David G. Styles’ book Volvo 1800. The Complete Story. By studying cultural adaptations together with the translation of terminology and connectors and basing the analysis on translation theory, certain conclusions can be drawn about the problems of translating a car-related text. This essay is mainly based on the theories of Vinay & Darbelnet (in Munday 2001), Rune Ingo (2007) and Bengt Altenberg (1999). The main results are that terminology is very important and that a translator needs to know the terms very well in order to translate successfully. For cultural adaptations it is necessary to make the text appear natural in the target culture without losing any vital information from the source text. Failure to meet those demands may result in a text which is rejected by people who are very interested in and knowledgeable about Volvo. Regarding connectors, avoidance of repetition is a key to success and slight increases or decreases in formality must sometimes be performed in order to reach this goal. Translation may be a rather vague science, but there are still strategies that must be regarded as better than others.
37
Fredin, Sabrina. "History and geography matter : The cultural dimension of entrepreneurship." Doctoral thesis, Blekinge Tekniska Högskola, Institutionen för industriell ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14018.
Full textAbstract:
This dissertation deals with the rise of new industries through entrepreneurial activities. The aim is to investigate how differences in contexts might encourage or discourage entrepreneurial activities. This contextualization of entrepreneurship enhanced our understanding of when, how and why entrepreneurial activities happen. Entrepreneurship is recognized to be a spatially uneven process and, in addition to previous research that has examined the actions of individual entrepreneurs, we also need to understand the context in which entrepreneurship occurs. We have a good understanding of how structural conditions like industry structure, organization structure and agglomeration effects influence the context, but we know little about how the social dimension of the context is the transmitting medium between structural conditions for entrepreneurship and the decision to act upon identified entrepreneurial opportunities. Following this line of argument, this dissertation is built on the assumption that entrepreneurship is a social phenomenon which gives strong arguments for including local culture in entrepreneurship research. The temporal persistence and the pronounced differences of culture and structural conditions between places reflect path-dependent processes. I therefore use regional path dependence as an interpretative lens to study the contextualization of entrepreneurship in two Swedish cities. Although each context is unique, some generalizations can be drawn from the four individual papers in this dissertation. The first is that industrial legacy leads to the formation of a distinct local culture and that the persistency of this culture influences the subsequent entrepreneurial activities in new local industries. The second is that this persistency of culture suggests that entrepreneurs who are outsiders, geographically or socially, are the driving forces for the emergence of new local industries. Finally, new industry emergence is a result of a combination of exogenous forces and initial local conditions, but it is the entrepreneurial individuals who translate these forces and conditions into entrepreneurial activities.
38
Cockayne, Emily Jane. "A cultural history of sound in England 1560-1760." Thesis, University of Cambridge, 2000. https://www.repository.cam.ac.uk/handle/1810/251723.
Full textAbstract:
Sounds both penetrate bodies and emanate from them, and in this thesis I consider both the reception and deployment of sounds in a variety of social contexts - an aural history of England between 1560 and 1760. I confine my analysis to nonverbal and non-musical sounds which were made both deliberately and incidentally, voluntarily and involuntarily, and ask, under what conditions were sounds meaningful? The concern of Chapter 2 is the sense of hearing - how and when it was appreciated or confused, and how it could be sharpened, or dulled and deafened. The experiences of the deaf are also discussed, with a distinction made between the congenitally deaf, and those who became deaf after they had developed verbal language skills. The third chapter considers body sounds, such as belching, farting and sighing, and the factors which influenced their suppression or enhancement. The chapter explores in depth the various functions of laughing and crying, highlighting differences in behaviour between different social and demographic groups. Sound signals - sounds which warned that something was happening or would happen - are the subject of the fourth chapter. The discussion commences with an investigation of sounds which were thought to indicate future disasters, to provide clues about health, or to forecast weather. However, the bulk of the chapter is devoted to signals which were deliberately issued in the public realm in order to convey information, warn of calamities, announce deaths, instruct and gather communities, and mark temporal, social and spatial divisions. Chapter 5 extends this discussion by exploring the ways that secular and ecclesiastical authorities tried to control the apparatus of signalling, and by considering both the success of such attempts and the efficacy of sound signalling. Aggressive sounds feature in Chapter 6. The manner in which aggression was expressed depended on the status of the aggressor and the person towards whom aggression was directed; inferiors were subjected to crude and harsh sounds, while caution was required when projecting aggressive sounds at superiors. Chapter 7 analyses early modern conceptions of noise - sounds which were considered to be irritating. It explores the various contexts of noise, and shows how ' people manipulated their environment to reduce noise disturbance, through legal means and by altering buildings.
39
Clements, Rebekah Elizabeth. "A cultural history of translation in early-modern Japan." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/252271.
Full text
40
Gapps, Stephen. "Performing the past : a cultural history of historical reenactments." Online version, 2002. http://hdl.handle.net/2100/625.
Full textAbstract:
University of Technology, Sydney.The reenactment of the past itself has a history. This thesis analyses self-styled 'historical reenactors' in the West and traces the history of the broader phenomenon of historical reenactment in the Australian context from the late nineteenth century to the present. The historical section focuses on several events significant in Australian cultural memory that have been reenacted over time. Historical parades, pageants and reenactments dramatically narrate culturally specific historical sensibilities and demonstrate inter and cross cultural exchanges of historical consciousness. I contend such performances have had a significant position in the formation of popular history since the late nineteenth century and that there is a continuity of conventions in performing the past. I have addressed the position of reenactments as part of a constant interest in the status and power of history in, and for, popular culture. I have shown how a form of history that operated for the public was transformed into a form of history operated by the public in a struggle for authority over the form and content of history. Historical reenactments have been useful avenues for elites to create didactic spectacular history that have also offered the opportunity for marginalised groups to make social and political gains through their participation in the making of public history. Considering the significance of reenactments in the formation of a distinctly Australian public history, they have received little attention from historians. As ephemera, reenactments sit awkwardly in the explanatory frameworks regularly used by historians. Using methodologies from a range of academic disciplines such as performance studies, anthropology and cultural studies, this thesis documents and interrogates the specific form of historical reenactment. In the sections of this thesis that analyse contemporary historical reenactments, I use my own experience as an historical reenactor of more than ten years in an ethnographic approach that reflects on the pleasures, promises and problems 'dressing up as if from the past' offers. In this history I draw continuities between past reenactments and present practices that assist in understanding historical reenactment as a specific cultural form. This thesis contends that reenactments over time have been characterised by three main elements: a collapsing of past and present, an avenue for a 'connectedness' with the past through a sensual experience, and an essential relationship with I authenticity.'
41
Ryu, Jae Hyung. "Reality & effect a cultural history of visual effects /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-03292007-172937/.
Full textAbstract:
Thesis (Ph. D.)--Georgia State University, 2006.Title from file title page. Ted Friedman, committee chair; Kathy Fuller-Seeley, Angelo Restivo, Jung-Bong Choi, Alisa Perren, committee members. Electronic text (249 p.) : digital, PDF file. Description based on contents viewed Oct. 29, 2007. Includes bibliographical references (p. 236-249).
42
Papadimitriou, Lydia. "The Greek film musical : a critical and cultural history /." Jefferson, N.C. [u.a.] : McFarland, 2006. http://www.loc.gov/catdir/toc/ecip0517/2005022634.html.
Full text
43
Kaleba, Casey Dean. "Violent delights a cultural history of media violence debates /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/2130.
Full textAbstract:
Thesis (M.A.) -- University of Maryland, College Park, 2004.Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
44
Ryu, Jae Hyung. "Reality & Effect: A Cultural History of Visual Effects." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/communication_diss/13.
Full textAbstract:
The purpose of this dissertation is to chart how the development of visual effects has changed popular cinema¡¯s vision of the real, producing the powerful reality effect. My investigation of the history of visual effects studies not only the industrial and economic context of visual effects, but also the aesthetic characteristics of the reality effect. In terms of methodology, this study employs a theoretical discourse which compares the parallels between visual effects and the discourse of modernity/postmodernity, utilizing close textual analysis to understand the symptomatic meanings of key texts. The transition in the techniques and meanings of creating visual effects reflects the cultural transformation from modernism to postmodernism. Visual effects have developed by adapting to the structural transformation of production systems and with the advance of technology. The studio system strongly controlled the classical Hollywood cinema by means of the modern economic production system of Fordism. Breakdown of Hollywood classicism as a production system gave rise to the creation of digital effects with the rise of the concept of the blockbuster and with the development of computer technologies. I argue that the characteristic feature of time-space compression, occurring in the process of the transition from Fordism to flexible accumulation, clearly reflects that of compression of multi-layered time and space, generated in the development process from analog visual effects, such as trick, rear and front projection, to the digital effects, such as rotoscoping and CGI animation. While the aesthetics of analog visual effects, without computing, can be compared to a Fordist production system, digital effects, which hugely rely on CGI manipulation, are examples of flexible accumulation. As a case study of the local resistance or alternative of Hollywood today, I examine the effects-oriented Korean nationalist blockbuster. The Korean nationalist blockbuster films have sought large-scale filmmaking and presentation of spectacular scenes, including heavy dependence on the use of special effects, which is frequently considered a Hollywood style. This paradoxical combination of peculiar Korean subjects and Hollywood style can be viewed as a form of cultural jujitsu, taking advantage of the force of the dominant culture in order to resist and subvert it.
45
Cheung, Desmond H. H. "A socio-cultural history of sites in Ming Hangzhou." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/37020.
Full textAbstract:
This dissertation takes a fresh approach to the study of place for parsing Ming society. Through a close analysis of the construction and representation of five famous places in the former imperial capital of Hangzhou – a pair of official shrines, a Buddhist monastery, the city god temple, and West Lake – I develop the dual idea of the “site” as a physical place that people made and maintained, and also as an imagined place that had important meanings in the cultural landscape. I argue that no individual group – not even the Ming state – was able to maintain a site on its own, nor was it able to control the meanings ascribed to it. Rather, members of different social groups participated in the construction of a site and the production of its historical meanings, and drew on particular meanings to advance their own concerns. This place-based history was an open resource that was constructed, used, and contested by multiple parties. While it could prompt people to contribute towards the restoration or maintenance of a site, in some cases it also provoked violent engagement with it. This included the intended destruction of statues of villains who engineered the death of a loyal hero, and also the unintended (and mistaken) smashing of religious carvings to punish a nefarious monk.
This place-based analysis presents new possibilities for understanding the dynamics of Ming society by focussing on the interactions between its constituent groups. Each site had a particular place within the political order of the state, and also its own relevance to wider society. The interplay of cultural imagination and physical engagement that underlay the making of historical sites reveals the multiple voices involved in the production of meaning in Ming society, and the cooperation, negotiation, and contestation among the groups to whom those voices belonged.
46
Herman, Dana. "Hashavat Avedah : a history of Jewish Cultural Reconstruction, Inc." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99925.
Full textAbstract:
This thesis is an institutional history of Jewish Cultural Reconstruction, Inc. (JCR), an organization mandated by the Office of Military Government, United States (OMGUS) to assume trusteeship over heirless Jewish cultural property that had been plundered by the Nazis and later centralized in depots in the American Zone of Germany in the wake of the Second World War. Formally established in 1947, until 1951 JCR functioned as the cultural arm of the Jewish Restitution Successor Organization (JRSO) and distributed hundreds of thousands of books, thousands of ceremonial objects, and Torah scrolls to Jewish communities around the world including the United States, Israel, West Germany, Britain, and Canada. Looking beyond its mandated mission, JCR was also involved in searching for caches of Jewish property in the Allied zones, microfilming manuscripts and archives in German public institutions, and negotiating the enactment of West German legislation to safeguard future discoveries of Jewish property.Salo Baron, professor of Jewish history at Columbia University, was JCR's founder and president; many of the foremost Jewish intellectuals of the day, including Hannah Arendt, Gershom Scholem, and Leo Baeck were associated with it. This study of JCR sheds light on numerous topics, not the least of which is the political activities of Jewish academics in the aftermath of the Holocaust. Further, the internecine struggles among Jewish organizations over which group best represented world Jewry as trustee of this property is highlighted along with the development of JCR from a research commission to a U.S.-recognized supervisory body. JCR's interactions with the State and War departments as well as with the American military government in Germany add to the discussion of Jewish influence during this period. The examination of JCR's activities in the American zone between 1948 and 1951 serves to underscore the diligent work that was carried out, but also the less than ideal conditions in which this work was done. The distribution process undertaken by JCR and its member organizations emphasizes the debate surrounding what it meant to culturally reconstruct the Jewish world after the Holocaust. Finally, a discussion of JCR's very limited activities, from 1952 to 1977 when it was finally dissolved, underscores the difficulties inherent in maintaining a relevant rationale and function in an ever-changing political landscape.Cette these presente l'histoire institutionnelle de la Jewish CulturalReconstruction, Inc. (JCR), une organisation mandatee par le bureau dugouvernement militaire des Etats Unis (OMGUS) pour assumer la tutelle desbiens juifs culturels sans heritier, qui ont ete pilles par les nazis et plus tardcentralises dans les depots de la zone americaine en Allemagne apres la DeuxiemeGuerre mondiale. De sa creation officielle en 1947 a 1951, la JCR a fonctionnecomme l'antenne culturelle de la Jewish Restitution Successor Organization(JRSO). Elle a distribue des centaines de milliers de livres, des milliers d'objetsrituels et des rouleaux de Torah aux communautes juives dans le monde,notamment aux Etats-Unis, en Israel, en Allemagne de l'Ouest, en Grande-Bretagne et au Canada. Outre sa mission originelle, la JCR a egalement participea la recherche des caches de biens juifs dans les zones alliees, a enregistre surmicrofilms des archives et des manuscrits appartenant aux institutions publiquesallemandes et est egalement intervenue pour encourager une legislation ouestallemandeafin de sauvegarder les decouvertes a venir des biens juifs.
47
Barker, Clare Frances. "Exceptional.Children, Disability and Cultural History in Contemporary Postcolonial Fiction." Thesis, University of Leeds, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486383.
Full textAbstract:
This thesis explores representations of children with disabilities in recent postcolonial fictions from New Zealand, Africa and South Asia. It contends that while disabled characters appear frequently within postcolonial texts, disability is rarely considered critically within postcolonial literary studies and that this is a significant omission. In turn, humanities-based disabilitY studies has not yet paid adequate attention to conceptions of disability arising from non-Western cultura.1 contexts. In order to begin to address these theoretical elisions, I apply disability theory in my textual analysis, interrogating how disability intervenes. in, and facilitates, critical fictional engagements with postcolonial cultural histories. My research focuses specifically on the figure of the exceptional child who, in postcolonial Iiter?ry criticism, is typically interpreted in metaphorical terms as a symbol of the vulnerable or damaged postcolonial community or nation. While current literary disability theory similarly .' proposes. that disability is most often deployed within fiction as a metaphorical device, and is inevitably depoliticised in the process, I examine the materialist explorations of normalcy, embodiment and health that occur in my selected texts. I identify how disability is mobilised as a material, socially situated presence which enables the writers' cultural critiques. This thesis is divided into six chapters, each examining a novel with a disabled child protagonist. The first two chapters, on Patricia Grace's Potiki (1986) and Ken Hulme's the bone people (1983), consider disability in relation to indigenous cultural politics in New Zealand; Chapters Three and Four engage with the intersections between disability and gender in Tsitsi Dangarembga's Nervous Conditions (1988) and Bapsi Sidhwa's Cracking India (1991); and the final two chapters, focusing on Salman Rushdie's Midnight's Children (1981) and Ben Okri's The Famished Road (1991), explore postmodernist representations of exceptionality. My analysis demonstrates that these texts repres~nt disability in politicised, situated and unsentimental terms, an approach that is necessitated by the complex cultural histories in which the fictions are located. I conclude that further collaborations between postcolonial studies and disability studies are essential in order to advance current thinking on disability in non-Western contexts and to expand postcolonial theory's attention to conditions of difference.
48
Bain, Alastair G. D. "A Cultural History of Silence in England 1500-1800." Thesis, University of Aberdeen, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509224.
Full textAbstract:
This thesis is a cultural-historical discussion of the role and significance of silence in shaping aspects of belief and practice in early modern England. It proposes that silence was significant and formative not just as a relative absence of sound but also as a recognised characteristic of certain forms of behaviour. Thus, it was figured in the modification, control or suppression of speech; in actions such as gesture and bodily comportment; and in conditions such as obedience, subordination, humility, piety, and patience. Some forms of silence also derived from, and influenced, human relationships with the natural world. The main areas of discussion are family and community life; religion; death and the afterlife; the restricted means of communication exemplified in deafness and dumbness, and connections between silence and solitude. However, further threads run through the thesis. These include the relationship of silence to social order, sins of the tongue, personal fulfilment, the exercise of authority, and approaches to God, nature, spirituality, and religious asceticism. Another important consideration is the extent to which the expectation and understanding of silence varied over the three centuries in question, particularly as a consequence of increasing rates of literacy, changes in household and family dynamics, and between pre- and post-Reformation theologies.
49
Berry, Trine Bjørkmann. "The film of tomorrow : a cultural history of videoblogging." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/53713/.
Full textAbstract:
Videoblogging is a form of cultural production that emerged in the early 2000s as a result of the increasing availability of cheap digital recording equipment, new videoediting software, video website hosting and innovative distribution networks across the internet. This thesis explores the close entanglement of culture and technology in this early and under-examined area of media production – most notably in the self-definition and development of a specific community around video practices and technologies between 2004-2009. These videobloggers' digital works are presented as an original case study of material digital culture on the internet, which also produced a distinctive aesthetic style. The thesis traces the discourses and technological infrastructures that were developed both within and around the community of videobloggers and that created the important pre-conditions for the video artefacts they produced. Through an ethnographically-informed cultural history of the practices and technologies of videoblogging, this thesis engages with the way in which new forms of cultural and technical hybrids have emerged in an increasingly digital age. The ethnographic research is informed by histories of film and video, which contribute to the theoretical understanding and contextualisation of videoblogging – as an early digital community – which has been somewhat neglected in favour of research on mainstream online video websites, such as YouTube. The thesis also contributes to scholarly understanding of contemporary digital video practices, and explores how the history of earlier amateur and semi-professional film and video has been influential on the practices, technologies and aesthetic styles of the videobloggers. It is also shown how their aesthetic has been drawn on and amplified in network culture, mainstream media, and contemporary media and cultural production. Through a critical mapping of the socio-technical structures of videoblogging, the thesis argues that the trajectories of future media and cultural production draws heavily from the practices and aesthetics of these early hybrid networked cultural-technical communities.
50
Murphy, P. P. "A cultural history of gesture : England c.1380-1559." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680230.
Full textAbstract:
This thesis evaluates the cultural work of gestures in the religious life of late medieval England. It exposes a void in current scholarship to suggest that gestural performances lie at the centre of contemporary modes of learning, highlighting how embodied engagements with faith allow for a new analysis of the nature of late medieval religious practices and teaching. The study establishes a sustainable grammar of religious gestures in late medieval England, tracing sources of encouragement for embodied performance before examining how established corporeal regimes could be distorted and re-appropriated. The thesis begins with an introduction to the engagements with gestural politics that have emerged in medieval textual studies in recen t years to suggest that gestural studies may be a tangible, flowering field. I turn to the liturgy as the starting point for my own examination of the gestural culture of late medieval Christianity, exploring verbal and bodily engagement by preachers and congregants with generalised notions of gestural behaviour, while highlighting distortions of practice in relation to the liturgical year. The thesis then examines how the gestures of the Church are used and misused in contemporaly religious drama, noting the distinct mannerisms that are associated with particular saints and biblical figures, while outlining the gestural transgressions that occur, especially with relation to diabolic characters. The next section focuses on the relationship between gestures and the imagination in Nicholas Love's Mirror of the Blessed Life of Jesus Christ and Margery Kempe's Book to highlight the individualistic possibilities of gestural performance in the fifteenth century. The final chapter examines the theological rebuke to this gestural culture, specifically in the crafting of the Book of Common Prayer, highlighting how reformers in the sixteenth century dealt with the corporeal engagement with God which had flourished previously, with specific relation to visual and material culture.