Dissertations / Theses on the topic 'Jewellery'
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Gimeno, Carolina. "Performing Jewellery : Jewellery, decoration, gender and performance." Thesis, Konstfack, Ädellab/Metallformgivning, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4660.
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This essay is about the act of wearing contemporary jewellery has as a way of communication between human beings. I investigate the act of decorating the body as an important and basic human need. This essay investigates the relationship between gender, feminine culture, and decoration within the Western world, thinking of jewellery as a socialisation method and not as a consequence of natural differences between sexes. This investigation presents a brief historical review of the role that jewellery has been playing in the relations between the genders and the changes it has undergone in terms of cultural process over the last centuries. I introduce to the reader the idea of performing jewellery with the aim of to highlight the relevance that decoration on the body has as a way to construct our identity. The post-structuralist theories about gender and identity made by the feminist philosopher Judith Butler (Gender Trouble 1990, Undoing Gender 2004), and some philosophical perspectives on material culture, are used to support my investigation, to postulate that jewellery pieces can be viewed or understood us as ‘queer apparatus’… As a way to explore and experience jewellery as a ‘queer apparatus’, I have chosen few examples of contemporary jewellery.
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Raha, Sylvia. "Corporate entry into the jewellery business and its socio-economic impact on the life of the traditional swarnakars and jewellery traders in Siliguri." Thesis, University of North Bengal, 2020. http://ir.nbu.ac.in/handle/123456789/4339.
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Maclennan, Maria. "Forensic jewellery : a design-led approach to exploring jewellery in forensic human identification." Thesis, University of Dundee, 2018. https://discovery.dundee.ac.uk/en/studentTheses/58ace496-6d42-4ea1-966e-a89080e69d6f.
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Jewellery as a tool in the identification of the deceased is increasingly referenced within the scientific process of Forensic Human Identification (FHI). Jewellery’s prevalence in society, connection to both place and geographic region, potential to corroborate primary methods of identification (such as DNA, fingerprinting, or odontology), and robust physical form, means it progressively contributes to practices surrounding identification in a number of forensic fields. Physical marks or characteristics such as hallmarks or serial numbers, personal inscriptions or engravings, representational symbols (such as medals, badges of office, religious iconography or military insignia), and genealogical or gemmological markings, may also prove useful in informing investigators much about a piece - and potentially - the individual to whom it may have belonged. Despite this, jewellery is an approach to establishing human identity that has yet to be explicitly investigated from the perspective of either forensic science or jewellery design. The aim of this research has been to explore the potential of jewellery and highlight its significance within this context, through employing the processes and approaches of design. Informed by my own background in both jewellery and service design; I sought to co-design the interdisciplinary proposition of Forensic Jewellery as an extension of my own personal design practice, in addition to a broader hybrid methodology through which the dualistic perspective(s) of both forensic science and jewellery design may come to be mutually explored. By centring my methodology upon my practice, the research serves to document and reflect upon my auto-ethnographic experiences in inadvertently ‘prototyping’ my emergent new role as a Forensic Jeweller – a jewellery designer engaged within, or whose work pertains to, the field of forensic science. Through a range of forensic-based fieldwork, I sought to immerse myself within various communities of forensic practice by way of considering how a design practitioner may come to add value to this otherwise polarised field - a highly subjective and interpretive framework that has remained wholly unconsidered within forensic science. In simultaneously considering the impact of the perspective of forensics upon the broader field of jewellery design, I came to capture some of the otherwise restricted narratives of Forensic Jewellery emerging from the developing research context through a series of theoretically-informed design ‘reconstructions’: objects, concepts, and scenarios (representational, propositional, and metaphorical); educational material, and series of public engagement activities. The research thus culminates in a unique portfolio of practice – written, conceptual, and visual – with relevance to both forensic science and jewellery design history, theory, and practice. Original contributions to knowledge are demonstrated through the direct study of jewellery within real-world forensic settings through combined theory and practice, while the theoretical and conceptual debates surrounding identity, death, and the human body present within the field of jewellery design are simultaneously extended through the inclusion of forensics as a perspective. The research additionally demonstrates how the visual and tangible sensibilities of design can help to attend to otherwise challenging, emotional, or difficult subjects, capture and communicate tacit knowledge or anecdotal evidence, and ultimately contribute to the development of new and emergent research contexts.
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Yang, Xiaohui. "Relationships Between Jewellery and Body: Investigating Personal and Interpersonal Body Space with Jewellery." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/385547.
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This paper outlines studio research developed in response to the question: How can jewellery be used to detect and interrupt both personal and interpersonal body space? I aim to promote dynamic responses from both the viewer and the potential wearer. I have created objects that deliberately fall between the defining borders of jewellery and sculpture and jewellery and installation art. My research focuses on the relationship between jewellery and body space. By drawing on the connection between objects and wearers, I have created visible, touchable, measurable, and expressible circumstances of sensory experience to prove that the body and object interaction and mutual shaping, is a two-way record. At the beginning of this research I was particularly concerned about how the objects I make would trigger cross-cultural understanding and awareness; however, it became apparent that cultural interest forms one part of a more extensive investigation of how the objects I make are activated by those who engage with their form and materials.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Cohn, Susan Art College of Fine Arts UNSW. "Recoding jewellery: identity, body, survival." Publisher:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/43809.
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RECODING JEWELLERY: identity, body, survival addresses a central problem facing contemporary jewellery practice: through the course of the Contemporary Jewellery Movement, the potential of the jewellery-object to mediate intricate social relationships has become constrained. This is in part due to a singular focus of ideas in the field, and in part due to the developmental trajectory of contemporary jewellery networks. Caught up in the art-craft debate, contemporary jewellery missed the potentials in theory for developing a critical voice. This was not helped by the fact that academic discourse (philosophical, social, sexual, political) has largely neglected the significances of jewellery. The aim in this thesis is to negotiate this mutual neglect - or 'double gap' - by finding connections between theory and jewellery in practice. Jewellery involves complex interactions between makers, objects, wearers and audiences within social networks. Possessing a distinct set of codes enlivened by its relationship to the body, jewellery is a way of thinking and connecting which is strongly embedded in the activities of managing identity that define cultures and epochs. In the process, the instinct for adornment becomes an integral means of survival. This thesis draws on modern and postmodern theory, as well as art and jewellery practices, to examine contemporary shifts in thinking about identity, the body and reproduction. Through the three main chapters of this thesis I endeavour to: (i) provide an informed interpretation of the internal and external pressures that have defined contemporary jewellery practice over time; (ii) introduce relevant examples of my own work, and seek ways to move beyond the limitations of my own practice; and (iii) advocate new ways of thinking about contemporary jewellery that might lead it to a different voice. Reflected in this approach are three fundamental influences to my practice: the Contemporary Jewellery Movement; non-jewellery practices such as art, architecture, street culture, technology and performance; and academic writing across a number of fields. The thesis concludes with a discussion of how these interests came together in a single show, Black Intentions. However, the span of work covered extends through my career in jewellery to provide a basis for future directions.
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Baines, Robert, and robert baines@rmit edu au. "The Reconstruction of Historical Jewellery and its Relevance as Contemporary Artefact." RMIT University. Art, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070419.153736.
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The dating of ancient jewellery is given by the archaeological context. Technology applied by the ancient goldsmith is traceable through archaeometallurgy. The aim of this research is to analyse historical jewellery and to construct copies based on the known technology of the era. Resultant laboratory constructions with their historical correctness and the new knowledge of jewellery structures will then be available for reworking to convey a contemporary visual relevance and a statement of history. The results of these analyses and reconstructions will form the basis of metalwork objects in which contemporary aesthetics are informed by historical practice. Jewellery offers a view into history, of cultural descriptions of stylistic, chemical and methodological correctness. For diagnostic purposes there is the expectation of an archaeological correctness within the fabric and manufacture of the jewellery object. From the vantage point of a contemporary goldsmith, t his has provided me with an arena for artistic interpretation-for 'play'. Historical jewellery becomes contemporary jewellery forms and the 'play' functions as a stumbling block and an upheaval within orthodox classification of authenticity. There is in this disturbance an intervention with coontemporary ephemeral materials into the jewellery artefact in which I manufacture a semblance of an identified 'correctness'. Jewellery remains in a better state of preservation when hidden or concealed-not exposed. The jewellery object once surfaced, discovered, excavated or plundered or even worn becomes part of our time for reworking. Knowledge and applications of technology become the vehicle for scrutinizing these objects. We live in an era where the ancient and the recent, the authentic and the bogus, have begun to mingle and interbreed in the corridors of hyperspace. Television stages Xena the Warrior Princess encountering the young Buddha in the entourage of King Arthur. Fakes with historical associations can s ometimes be considered authentic as a shroud of 'history' can encompass the object to the satisfaction of the naive connoisseur who wants to believe, wants to believe, wants to believe, wants to believe ... . Jewellery as document is available for interpretation-for'play'. There is potential to return to an imaginary history where ffictional detail has been confused with historic fact and this can be both intentional and unintentional. Jewellery of the past therefore exists in the present and the jewellery artefact becomes available for evaluation and for 'play'. In the analysing and categorizing of type, jewellery as vehicle conveying the past can become a mixture of one's own inventions and cultural inheritance. From the vantage point of a goldsmith, I am considering how formulated heritage is available for reference, questioning and modification. The option to copy, to replicate, or to modify the historic document jewellery is a possibility and new input can verify authenticity or engender falsehood throu gh the artistic reinterpretation.
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Huusko, Källman Rebecka. "Social participation in contemporary art jewellery : An investigation of contemporary art jewellery’s ability to discuss complex questions within western society." Thesis, Konstfack, Ädellab/Metallformgivning, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4666.
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On the base of cultural norms, it seems that it is commonly accepted that one animal is considered 'friend', while the other 'food'. Even though people's opinion may differ in regards to the world's largest animal rights organization PETA (People for the Ethical Treatment of Animal) (Kulkarni, 2009), the organization asks a relevant question: “ If your cat tasted like chicken would you eat her?” As I work within the contemporary art jewellery field, it is through the body, jewellery, and the conscious act of wearing it, that I would like to encourage consumers to reflect on their personal meat consumption and to connect the packaged meat to the animal it comes from: what is it that we are eating? Where does it come from? Through this essay and my work/practice, I aim to critically reflect on the different existing values between animals in our society and to inspire more conscious and well informed decisions concerning meat. This essay is a research project prior to my practical exam work at the Jewellery + Corpus Master program at Konstfack and will serve as a basis for my artistic exam work. Against this background, I look at relevant literature and case studies representative of the field of contemporary art jewellery, in order to research/address the following question in this essay: - Is it possible to discuss complex questions within society though the media of contemporary art jewellery? Within the field, opinions differ between art historians as well as makers; it seems that the framework of contemporary art jewellery provides the medium, on one side, with great potential to speak of issues within society, although, on the other side, the same frame work commonly hinders the medium’s ability to reach out to the general public, in order to generate a wider discussion.
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Armano, Giulia <1996>. "Luxury Jewellery in the Chinese Digital Age. Online strategies for selling high-end jewellery in the Chinese market." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18202.
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The present thesis provides an in-depth analysis of the current state of luxury jewellery industry in China and the impact that the recent digital revolution inevitably had on this sector. A particular attention is devoted to the exploration of the possible digital marketing strategies that international well-renowned jewellery brands can apply when they seek to expand in the vast and culturally diversified market of China.
Divided into four main chapters, the study begins with a 360-degree overview of the luxury system; analyzing its multidimensional nature from an etymological, commodity, economic, cultural, customer and market’s point of view. After a general and global outlook of the sector, the analysis shifts on the regional characteristics and cultural perceptions of luxury in the Chinese market, the world's leading consumer of luxury goods and the reference of this thesis.
The second part is entirely dedicated to China’s gem and jewellery market. After a preliminary investigation on the relationship between jewellery and luxury products, it provides a detailed description of the evolution path, market sizing and segmentation (gold, platinum, diamond, silver and colored gemstones) as well as the current and future growth drivers. The most highly regarded domestic and global jewellery players operating in the Chinese luxury market are also presented. This section ends delving into the profile of the Chinese jewellery consumers and their purchase behaviors. Then, the study goes on investigating how luxury jewellery brands can navigate China's complex digital landscape to reach potential and existing consumers. As result, an exhaustive guide of various digital marketing initiatives that jewellery brands can adopt in order to excel in the Chinese digital domain is provided. The following digital marketing techniques comprise: the creation of a Chinese official website, SEO and SEM techniques on Baidu, jewellery sales on both generalist and vertical e-commerce platforms (Tmall with its Luxury Pavilion subsection, JD.com, Kaola, Secoo and 5lux.com), social media marketing (WeChat, Weibo and a mention to Little Red Book), storytelling, advertising and influencer marketing practises. The last part of the research presents multiple case studies about ad hoc digital marketing campaigns carried out by four international jewellery brands –– Tiffany, Chopard, Cartier and Piaget –– during two of the most important festivities in the Chinese culture: China’s Lunar New Year and Valentine's Day (Qixi Festival). In particular, their online cross-platform marketing activities on WeChat, Weibo and Tmall Luxury Pavilion are analysed in details.
The thesis concludes with some final remarks and useful suggestions for successful management in terms of online marketing and commerce of the Chinese high-end jewellery market.
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Shaw, Elizabeth. "Recycled Narratives: Contemporary Jewellery - Material Culture - Praxis." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/376858.
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This exegesis outlines research undertaken in the studio in tandem with the study of theoretical texts along with analysis of work by contemporary artists and metalsmiths. My studio approach is framed within ethical approaches to use of material and sustainable practices in production. The use of non-precious materials in contemporary jewellery is well established as a method to critique preciousness and question value, as is the reuse and repair of component parts of existing jewellery part of a global recycle movement across many disciplines. The work created in this project aims to investigate a wider use of humble materials and broken or discarded consumer objects by investigating the potential for exploiting their symbolic power and functional possibilities through reimagining as well as repurposing as jewellery. In demonstrating that jewellery can offer a critical reflection on contemporary society this project aims to also reinvigorate the important role jewellery has played as a key conveyance at the intersection of materials, the symbolic order and social, economic and environmental values.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Haydon, Kirsten, and kirsten haydon@rmit edu a. "Antarctic landscapes in the souvenir and jewellery." RMIT University. Art, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090227.115157.
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Experience of Antarctica is unique and overwhelming and the phenomenon of the landscape and knowledge of its history continues to inspire artists and writers. Since Antarctica's discovery and exploration both before and during the Heroic Age; explorers, expeditioners, artists and writers have attempted to record and visualise Antarctica. In1982 international Antarctic programmes started to assist artists to travel to Antarctica with the intention of providing perceptive interpretations no longer attached to science or exploration. This practice-led research is the first project where a jeweller has explored and interpreted a personal experience of Antarctica to produce souvenir and jewellery objects. These objects reveal new interpretations of Antarctica that engage with the viewer through the recognisable personal jewellery and souvenir object. This research has produced new contemporary souvenir and jewellery objects by interpreting both personal photographs and re-examining the historic stories, photographs and representations of Antarctica. The bibliographic investigations of historical jewellery and souvenirs provided specific examples of historical personal mementos that are now displayed in museums. This research analyses the meaning of historical examples of souvenirs and jewellery and examines the way in which photography has been manipulated and used on hard media. Through this analysis and examination of historical examples the research focuses on studio-based experimentation with enamelling and contemporary technologies to establish the links enamelling has had with micromosaics and miniature painting. This practice-led research investigates new and innovative ways to interpret these historical techniques and draw on the notion of the souvenir. Thinking through the processes used in this research and retelling the personal experience of Antarctica, contemporary technologies are used to reimagine historical examples of tourist jewellery and personal souvenirs presenting a further understanding of Antarctica's significance both culturally and environmentally. The research not only provides an addition to the diverse range of interpretations of Antarctica it also explores the area of enamelling in contemporary jewellery and object making by contributing to the current revival of the tradition both locally and internationally. This research offers new experiences and knowledge through the investigation, experimentation, manufacture and installation of enamelled objects.
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Bartlett, Lynne. "Variability in coloured titanium surfaces for jewellery." Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/5451/.
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McAleer, Sarah. "Children's jewellery in Europe : traditions and contemporaneity." Thesis, Royal College of Art, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565985.
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This PhD thesis consists of an illustrative testimony which catalogues and analyses, in a comprehensive chronological account, the historical development of children's jewellery, in Europe, from Prehistoric times until the present day. This record, presents a framework for placing jewellery and its relationship to children within European society, whilst addressing typologies and cultural associations that previously have not been well understood. Further consideration of the subject from the perspective of children themselves in the 20th and 21 st centuries emphasises the child as a focal point and source of inspiration, which in turn questions the future of children's jewellery per se. The thesis is divided into eight chapters: Prehistoric Catalogue, Greek & Hellenistic Catalogue, Etruscan Catalogue, Roman Catalogue, Medieval Catalogue, Portraits & Children's Jewellery Catalogue (13th - 19th centuries), 20th Century Catalogue, and Children's Jewellery Today. Each chapter gives a brief overview of the historical and cultural background of established 'adult' jewellery trends for the period, before detailing those jewellery artefacts associated with children. Although this research encompasses specific boundaries pertaining to the subjects of jewellery, children and to some extent childhood, it embodies many other aspects of history, history of art, anthropology, cultural studies, sociology, social policy and psychology, for example. Main areas of investigation have included: the history of jewellery, the history of children's costume, the history of children's portraits, the history of the family, the development of children and childhood throughout history, the beliefs and cultural associations of children and childhood, the changing role of children in society, children as consumers, learning, perception (colour, object and visual), and play. Nevertheless, this thesis does not dwell in detail on anyone of these topics, rather, it draws relevant points to strengthen its arguments in the explanation of forms, functions and meanings with regards to children and their jewellery. This account, offers a new approach to the subject of jewellery and the inclusion of the child as a significant influence, will further acknowledge the position of children's jewellery as a particular area of study. Obtaining a better understanding of a topic's traditions enables further research to challenge pre-existing and conventional notions.
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CAMPOS, MARIA APARECIDA DE MORAES SIQUEIRA. "TRENDS FORECASTING: STRATEGIC ORIENTATION IN JEWELLERY DESIGN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10365@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORO mundo dos produtos, como as jóias, perfumes, alimentos ou automóveis, não escapa da necessidade de uma contínua renovação e antecipação. A pesquisa de tendências, enquanto observadora da sociedade e seu contexto econômico-político-cultural, torna-se essencial para o design no desenvolvimento de produtos. Esta dissertação propõe a construção de uma fundamentação teórica para a conceituação das tendências de moda e design, a atuação do pesquisador, a prática das pesquisas de tendências e sua relevância na orientação estratégica do design. Apresenta, também, a importância do design dentro do gerenciamento estratégico das empresas e algumas iniciativas que contribuíram para a consolidação do design de jóias brasileiro e suas mudanças de paradigmas, como o impacto da industrialização, a valorização do conteúdo simbólico na concepção e consumo das jóias, a aproximação das jóias com a moda e o fortalecimento da joalheria de arte. Por último, apresenta a contribuição do Caderno de Tendências de Jóias para a atualização e sucesso do design de jóias brasileiro no Mundo.
The world of products, as jewels, perfums, foods or automobiles, doesn´t escape of a continuous renovation and anticipation necessity. Trends forecast while observing of the society and its economic-political- cultural context becomes essential for design in the products development. This dissertation considers the construction of a theoretical fundamentation for the fashion and design trends conceptualization, the forecaster´s performance, the trends forecasts practice and its relevance in design strategical orientation. It also presents the importance of design inside the strategical management of the companies and some initiatives that had contributed to the consolidation of the brazilian jewellery design and its paradigms changes, as the impact of industrialization, the symbolic content valuation in the jewels conception and consumption, the approach of jewels and fashion and the strengthening of art´s jewellery. Finally, presents the brazilian Jewellery Trendsbook contribution for the update and success of brazilian jewellery design in the World.
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Middlemass, Cara Sian. "Mourning jewellery in England, c.1500-1800." Thesis, University of Newcastle upon Tyne, 2018. http://hdl.handle.net/10443/4188.
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This thesis explores the historical importance and social function of memorial jewellery within the funerary and mourning cultures of early modern England. Mourning jewellery represented a particularly distinctive facet of mourning and funerary ritual and etiquette, and this study reveals the customary role which mourning jewellery grew to occupy, as a method for the memorialisation and commemoration of the dead, over the course of three centuries, c.1500- 1800. The thesis introduces and defines the broad parameters of the primary research, with a discussion of the source materials employed, including the creation of a database which analysed a large body of wills from Essex, Middlesex, and Surrey, as a means of understanding the place which mourning jewellery occupied within the funerary and remembrance strategies of early modern testators. Beginning with the material objects themselves, the following two chapters provide a chronological overview of the jewellery itself, looking at what kinds of pieces were actually being produced and utilised, introducing form and fashions, and detailing evolving stylistic modes, conventions, and decorative motifs. Placing these material markers within their proper social, cultural, and economic contexts offers a greater understanding of the customary function of mourning jewellery as a whole and the ways in which it was bequeathed and utilised as a means of mourning and commemorating the dead. The fourth chapter offers an insight into the types of people who were typically giving and receiving mourning jewellery, and how the processes, functions, and relationships, which lay behind these exchanges, actually worked in practice. The fifth chapter assesses the overall significance and widespread popular impact of mourning jewellery as a whole, both socially and over time, within the funerary provisions and customary remembrance strategies of testators and the bereaved. The role, significance, and import of mourning jewellery fluctuated according to its employment; it lay within an intricate web of attachments and obligations, ritual and observance, mourning and memory. The final part of the thesis ends by providing some insight into this process, looking at the ways in which mourning jewellery was used in practice and the prospective lifecycle of such objects. It also deals with thornier issues surrounding contemporary emotional responses towards death and loss, observing how mourning jewellery operated, why it was used, and whether it could provide any comfort for the bereaved.
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Oakley, P. "The creation and destruction of gold jewellery." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1399860/.
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This thesis focuses on the tension that exists between the social identity of objects and their constituent substances, through an investigation of the activities and perceptions of professional practitioners who come into contact with either gold as gold objects or gold as an unconstrained substance. It adopts the strategy of ‘following the substance’ - considering the social flow of gold as a material - rather than being limited by the social biography of the object or taking a restrictive definition of production as just the physical fabrication of artefacts. Ethnographic data from fieldwork undertaken at assay offices, refiners, jewellery manufacturers and retailers and at precious metal scrap dealerships is analysed to identify how these sites interrelate through the movement of gold and the socially crucial points in this movement. The synthesised results of this analysis are presented as a visualisation of the social reclassifications of gold: the gold cycle. The main features of the cycle, including how the cycle incorporates the social trajectory of gold jewellery and the rite of passage undergone by gold as a substance, will be considered in relation to the subjects’ dominant self-identity as a group: The Trade. This case study is presented in order to contribute to the theoretical understanding of the social complexity of substances and the relevance of this to the production, consumption and destruction of objects.
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Boezaart, Kim. "Contemporary avant-garde jewellery in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51665.
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Thesis (MA)--University of Stellenbosch, 2000.ENGLISH ABSTRACT: This study considers the dynamics and nature of neo-avant-garde jewellery with specific reference to contemporary South African (neoavant- garde) jewellery. In Chapter One defensible working descriptions of the terms "avant-garde" and "neo-avant-garde" are established in order to establish some manageable conclusions regarding their application to jewellery design. These descriptions are derived from a consideration of the concepts in contemporary aesthetic discourse. Chapter Two considers the role, justifications and implications of adornment with a view to isolating the development, influences and nature of neo-avant-garde jewellery. A distinction is drawn between the aesthetics, ontology and art-relevant status of such jewellery and commercial or mainstream jewellery. Chapter Three analyses specific examples of contemporary South African avant-garde jewellery in the light of the above-mentioned distinctions. Works are considered in relation to the transgression of material, the transgression of taste, the transgression of integrity of form and the integration of narrative and parochial content and attempts to demonstrate that an appropriate critical posture in regard to such jewellery is art, rather than craft-relevant. In Chapter Four general influences regarding themes and concepts apparent in the author's body of practical work are discussed. An annotated catalogue supplements the general discussion.
AFRIKAANSE OPSOMMING: CONTEMPORARY AVANT-GARDE JEWELLERY IN SOUTH AFRICA Hierdie studie ondersoek die dinamika en karaktereienskappe van neoavant- garde juweliersware, met spesifieke verwysing na kontemporêre Suid-Afrikaanse neo-avant-garde juweliersware. In Hoofstuk Een word die terme "avant-garde" en "neo-avant-garde" beskryf. Die doel hiervan is om uiteindelik die omvattende gebruike en definisies van hierdie terme (met betrekking op kontemporêre estetika) vas te lê. Hoofstuk Twee gee 'n oorsig aangaande die redes vir- en implikasies van fisieke versiering. Die ontwikkeling, invloede en aard van neo-avant-garde juweliersware word bespreek en gekontrasteer met komersiêle jeweliersware. In lig van die bogenoemde onderskeidings verwys Hoofstuk Drie na spesifieke Suid-Afrikaanse voorbeelde van neo-avant-garde juweliersware. Hierdie voorbeelde word oorweeg in terme van hul oorskryding van tradisionele grense aangaande materiaalgebruik, smaak, integriteit van vorm en die integrasie van relaas. Die studie poog om die relevansie van neo-avant-garde juweliersware as kuns eerder as kunsvlyt te demonstreer. In Hoofstuk Vier word die outeur se praktiese werke bespreek deur middel van 'n geannoteerde katalogus. Die katalogus word voorafgegaan deur 'n bespreking van invloede, temas en konsepte van die deurlopende ooreenkomste in die outeur se werke verduidelik.
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Ward, Vanessa. "An interrogation of the translation of ideas from architecture to jewellery through the design and production of contemporary jewellery." Thesis, Glasgow School of Art, 2005. http://radar.gsa.ac.uk/4937/.
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This research interrogates the translation of ideas from architecture to jewellery, through the design and production of contemporary jewellery. Necessarily this interdisciplinary focus has two contexts; contemporary jewellery and the architectural world from which ideas are translated. The practitioner comprises the third element, determining the way in which ideas are interpreted and expressed. The aims of this research are to define and locate architectonic jewellery and through practice to contribute to this field. The Rationale and contextual review (chapter2), locates architectonic jewellery as a sub-genre of contemporary or studio jewellery; positioned as a strand of Modernist jewellery emergent from a Constructivist tradition, parallels are drawn to the American Modernist movement. The identification of three strands (abstract, interpretive and figurative), within architectonic jewellery explore this translation of ideas from one discipline to another. The contextual review was instrumental in the identification of the positioning of the practice-based research. The method decided upon for the design of jewellery was through response to a selected architectural exemplar. The Role of architectural theory (chapter3), details the architectural context and understanding gained of the main exemplar, Therme Vals, Graubunden, Switzerland by architect Peter Zumthor. Associated with the Swiss Essentialists and continuing in a Modernist tradition, the origins and philosophical underpinning of this architecture were established. An investigation into Phenomenology provided a fundamental understanding of architecture, a means to observe and articulate the act of experiencing (in responding to an architectural site) and altered the dimensions of material consideration in the design process. Idea development (chapter4), documents the development of ideas in the self-reflexive practice. The design process is explained in chronological order. The establishment of selection criteria for architecture initiated this iterative development. The three phases of response to the architectural exemplar are discussed, each phase resulting in the analysis of design and the alteration of the selection criteria. Phase one responded to Juha Leiviska’s Myyrmaki Church through secondary sources. Phase two, to the Burrell collection and Phase three to Therme Vals. All three investigations responded purely to the visual language of the architecture. Phase three comprises of two site visits to Therme Vals, the second of which was preceeded by research into the architectural theory and Phenomenology as discussed in Chapter 3. The research process culminated in the design of works in response to the second visit to Therme Vals. This practice-based research positions architectonic jewellery and through the design process establishes a new paradigm that uses phenomenology as an interpretive tool.
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Smith, Michèle Mariette Hayeur. "A social analysis of Viking jewellery from Iceland." Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/1000/.
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Wong, Sau-kuen Elisa, and 黃秀娟. "A study of pricing behaviour of jewellery shops." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31976803.
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Ogden, Jack M. "Gold jewellery in Ptolemaic, Roman and Byzantine Egypt." Thesis, Durham University, 1990. http://etheses.dur.ac.uk/1457/.
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Segal, Marcelle. "Street art commentary as inspiration for jewellery design." Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1442.
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Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010The purpose of this research is to investigate whether street artists make statements about current socia-political affairs as a form of popular protest and whether those statements can be reflected in another design discipline. such as jewellery design. while reflecting upon the work of Faith47. a South African social commentator. Cultural studies has been referenced as a theoretical framework in relation to cultural sup-groups and. a historic context is provided in order to better understand the significance of social commentary in graffiti, a form of street art produced by social sub-qroup, and made during a period known as Apartheid and currently. in Post-Apartheid South Africa. A range of jewellery then emerged from the research. dealing with the aspects of social-political commentary. as an interpretation of a form of protest art and applied to wearable jewellery. The products incorporate word and images that are provocative and invite the viewer to question and reflect upon what in my view was a contentions and significant period in the history of South Africa.
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Pinckernelle, Kathia. "The iconography of Ancient Greek and Roman jewellery." Connect to e-thesis. Edited version, 2008. http://theses.gla.ac.uk/318/.
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Thesis (MPhil(R)) - University of Glasgow, 2008.MPhil(R) thesis submitted to the Department of History of Art, Faculty of Arts, University of Glasgow, 2008. Includes bibliographical references. Print version also available.
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Hammarberg, Sofia. "DO NOT COVER : Störst av allt är feelingen. Om att frigöra sig från skam genom Corpus/Jewellery." Thesis, Konstfack, Ädellab/Metallformgivning, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5549.
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Some things you cant touch, see or grab. But they are there. Always and everywhere. Silently invading every part of you, your everyday life and the things in it. The less you speak of it the more you have it. The more you have it the less you want and can address it. Shame is not logic, it is not the brain reacting, hardly our conscience, it's the body. It is truly and fully a physical feeling. For the first time I give myself permission to dig into all of these materials, I indulge in the styles and tastes that I've long felt forbidden for me. I wont be limited in my choices of symbols, coloration or aesthetics in ways that good taste and patriarchal structures have taught me to be. I am letting that guard down and diving in, using it in advantage for my work and my theme. I feast on fake pearls, glitter, shells and plastics. I turn towards what is considered shameful or bad taste and work with it, embrace it and elevate it. Not to show that is the new "right" but to justify for all of the times that I have turned away from it because of shame. To be a person with feelings of shame is to be a person that automatically will try to turn from itself. Shame is intimately entwined with femininity, it is silently inherited from generation to generation. It is experienced only by some bodies and not others. It is not being able to see your own value. It is the loneliest feeling in the world, but really a marker for something much bigger and deeper than one individual. It is materialized everywhere around us. It is not me, but it is not not me.
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Salaam, Safia. "A multimodal social semiotic approach to jewellery design pedagogy." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/12014.
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Includes abstract.Includes bibliographical references.
This thesis presents a multimodal social semiotic theoretical framework to explore jewellery design pedagogy. The role of the designer, meaning making and the semiotic functions of resources used within the practice of jewellery design are analysed.
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Zymonaitė, Justina. "Meninės juvelyrikos eksponavimo praktikos XX a. pab. – XXI a. pr." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_144221-77920.
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XX amžiaus antroje pusėje juvelyrikai priartėjus prie kitų vaizduojamojo meno rūšių, papuošalui tapus meno kūriniu, išreiškiančiu individualią kūrėjo poziciją, ir pradėjus rengti specializuotas juvelyrikos parodas, iškilo juvelyrikos eksponavimo reikšmė. Problematiškumas slypi srities specifikoje (dažnai maži mąsteliai, brangių medžiagų naudojimas) bei santykyje su kūnu, nes dėvėjimas yra esminis papuošalo suvokimui. Todėl įprastas juvelyrikos eksponavimas stiklinėse vitrinose netenkina juvelyrikos, kuriamos postmodernaus meno principais.
Darbo tikslas – išanalizuoti galimas meninės juvelyrikos eksponavimo strategijas pasitelkiant trumpalaikių meninės juvelyrikos parodų pavyzdžius iš Lietuvos bei užsienio nuo XX a. 8 dešimtmečio iki šių dienų. Tyrimas nėra istorinio pobūdžio: juvelyrikos parodos nėra analizuojamos chronologiniu principu ar kaip vientisas reiškinys, procesas, kuriame galima užfiksuoti tam tikrą raidą. Nagrinėjamos trumpalaikės personalinės ir grupinės juvelyrikos parodos, nes jose gali būti įgyvendinti tokie ekspoziciniai sprendimai, kurie netinkami ilgalaikėms muziejų ekspozicijoms. Tyrimu siekiama išsiaiškinti, kaip juvelyrikos eksponavimas veikia pačių kūrinių supratimą, priėmimą ir turinį, kokios skirtingos juvelyrikos eksponavimo praktikos naudojamos, koks yra žiūrovo ryšys su papuošalu parodos metu bei kaip skirtingi eksponavimo būdai lemia šį ryšį, koks žiūrovo santykis su ekspozicija.
Magistrinio darbo struktūra paremta skirtingų juvelyrikos parodose... [toliau žr. visą tekstą]Contemporary jewellery cannot be dissociated from developments in the fine art. In the second part of the 20th century jewellery started to be considered as an art form which can express the individuality of an artist. During that time the first specialized jewellery exhibitions were held and since then the attention was drawn to the importance of how objects are displayed in the exhibition. What makes exhibiting jewellery difficult is its connection to the body - wearability is the essence of it. In addition, usually jewellery is small scale and made of precious materials. As a result, typical showcases made of glass are no longer satisfying for displaying art jewellery. The aim of this research is to analyze possible strategies of how art jewellery can be presented. The examples of temporary jewellery exhibitions, both personal and group, from Lithuania and abroad from the 1970s to the present are included. The research is not historical and based on chronology, jewellery exhibitions are not seen as a continuous phenomenon with clear evolution. Temporary exhibitions offer a possibility of to putting into practice such display solutions which would not be suitable for permanent museum displays. This paper looks into the questions such as what kind of different display strategies are used to exhibit jewellery, how the display affects the perception of the artworks, what the relation between the viewer and the jewellery work in the exhibition is, how display influences this... [to full text]
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Spranger, Katrin. "The Future of Jewellery : are there Ways and Needs to Accomplish a Change in the Development and Especially the Meaning of Contemporary Jewellery?" Thesis, Konstfack, Ädellab/Metallformgivning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-176.
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This essay will deal with ideas for jewellery in the future. One approach to this issue is, to investigate the meaning of materials which might become rare or even deplete in the future. Along with science and science fiction it will focus on established scientific postulated laws of nature, although some elements might still be pure imaginative speculation. The paper will also explore about academic discourse on value with a focus on understanding jewellery material values connected to rarity as well as value of experience and the increasing need for it in society. It will draw a futuristic picture of change, meaning and development in the field of contemporary jewellery and society.
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Sousa, Joana da Cunha Rêgo de. "Desenvolvimento de um produto que une a moda de praia e a joalharia - CHAINED." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/16631.
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Dissertação de Mestrado em Design, com a especialização em Moda apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.O presente trabalho de investigação teórica-prática pretende, através da pesquisa elaborada e do proveniente Estado da Arte, dar uma nova perspectiva acerca da moda beachwear complementando-a com acessórios de wearable jewellery. Este será dividido, então, em duas partes. A primeira parte dá conta de todo o trabalho de investigação teórica, abordando alguns conceitos-chave, bem como das metodologias adoptadas pela autora - das quais faz parte a análise de quatro estudos de caso ( o biquíni em ouro e diamantes de Fátima Lopes; os Fantasy Bra’s da marca internacional Victoria’s Secret, os fatos usados pelas rainhas de bateria dos respectivos blocos carnavalescos brasileiros, uma vez que também estes são adornados com materiais preciosos) e, por fim o caso de Olga de Noronha e Valentim Quaresma cujas artes e oficíos são importantes para a investigação. Num segundo momento podemos dar conta da vertente prática do trabalho, que diz respeito à elaboração de um produto de moda de praia que une a moda de praia e a joalharia, com inspiração nas formas do diamante. É esperado também que a presente investigação teórico-prático possa servir de mote ao debate sobre a moda e que estimule estudos sobre o cruzamento de outros sectores de actividades tangentes com a mesma, como é o caso da joalharia.
ABSTRACT: The present theoretical-practical research work intends, through the elaborated research and the coming State of the Art, to give a new perspective on the beachwear fashion complementing it with accessories of wearable jewelery. This will then be divided into two parts. The first part gives an account of all the theoretical research work, addressing some key concepts, as well as the methodologies adopted by the author - which includes the analysis of four case studies (the gold bikini and diamonds of Fátima Lopes; Fantasy Bra's from the international brand Victoria's Secret, the facts used by the battery queens of the respective Brazilian carnival blocks, since these too are adorned with precious materials), and finally the case of Olga de Noronha and Valentim Quaresma whose arts and important for research. In a second moment we can give account of the practical side of the work, which concerns the elaboration of a product of beach fashion that joins the beach fashion and the jewelery, with inspiration in the forms of the diamond. It is also expected that the present theoretical-practical research can serve as a motto for the debate on fashion and that stimulates studies on the intersection of other sectors of activities tangent with it, as is the case of jewelery.
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Poppi, Clare Elizabeth. "How might a collaborative approach between maker and wearer yield sustainable `end-user' relationships with jewellery?" Thesis, Griffith University, 2018. http://hdl.handle.net/10072/385867.
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In recent years, there has been a growing movement within contemporary jewellery that engages notions of sustainability. Part of this movement has involved focusing on the ethical concerns surrounding jewellery manufacture and production, from precious metal mining and gemstone sourcing through to studio techniques, including recycling, chemical reduction, and energy use. While these issues are imperative because of their social and environmental impacts, many jewellers focus solely on the role of the designer in ethical jewellery making. By contrast, my research examines the role of the wearer in accepting responsibility for their consumption habits. This exegesis explores how maker and wearer can collaborate in various ways to create ongoing, sustainable relationships between the wearer and their jewellery.Thesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
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Cravinho, Graça Maria Pombo 1947. "Glíptica romana em Portugal." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 1999. http://dited.bn.pt:80/29205.
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Campos, Ana Maria Cabral Almeida. "Cel i mar-Ramón Puig actor num novo cenário da joalharia." Master's thesis, Instituições portuguesas -- -Universidade Aberta, 2000. http://dited.bn.pt:80/29330.
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Sousa, Gonçalo de Vasconcelos e. 1970. "A joalharia no Porto nos finais do século XVIII-aspectos socioartísticos." Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Letras, 1996. http://dited.bn.pt:80/29831.
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Nordström, Anna. "Who of me am I?" Thesis, Konstfack, Ädellab/Metallformgivning, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4652.
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I have chosen to use the forum of jewellery, particularly lockets, to investigate the notion of a public and a private self as a main theme. In this text I will bring up different aspects of the locket to show which tools I have to work with, and then I will research the actual theme from a sociopsychological point of view. Jewellery can be used as a manifestation of a public self and it can be a connection to a private self. The jewellery holds the possibility to tell its story when worn and the person wearing it might fill it with his/her own emotional value that might and might not be in correlation with the artists’ intent. The way lockets are and have been used is influencing the way we look at them; it charges them with symbolical meaning. The locket becomes a representation of a private, intimate part of the person wearing it. The locket has an outside and an inside, a public and a private part. When worn, it communicates to both the wearer and his/her surroundings. The action of opening a locket and of wearing a locket are deliberate acts that revolve around both the transgression between public and private and the secrecy of its content. These different aspects of the locket are tools that I can use in my work. The creation of an outer, public-, self works as a tool to help us interact with each other. It simplifies communication, places us in an understandable setting (society) and might also help us improve our influence on our social status. In some situations this public self can give rise to a feeling of alienation and discomfort. The risk is that we identify ourselves with a one-dimensional image of ourselves. Or that we experience a too big gap between our public and private self. The representational self can also become an integrated part of our identity. In that sense we create ourselves. As the borders between our private and public sphere become more blurry, it might be hard to keep the balance between the public and the private self. The increased availability for social interaction sometimes restrains the private self and this stresses the need for determining and keeping a private sphere for oneself. I believe that the feeling of an outer and an inner self often is based in an ambivalence towards a social situation. That I pay attention to a framework that both attracts and repulses me. It is in those situations that our split self becomes apparent, and can be felt, but also questioned. I create my own public self. But there has to be a balance between our public and private self, and that stresses the need of setting up personal borders, not only for a bigger social benefit, but also to be able to cope with, to interpret and process everyday-life. I believe that the urge of addressing the personal, and bringing up different aspects of identity within jewellery art, springs from the preconception of jewellery as no more than an embellishment. That is also why it becomes interesting. From my part I see an excitement in the contradiction of using what might be considered a fashion attribute to problematize, make aware of an awkward attitude towards the presentation of the self. To use the physical aspects of the locket to talk about a mental state, and an emotional reaction to a social situation. Because that is what the imbalance of a public and a private self does with me: it evokes an emotional reaction to the social situation I find myself in.
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Swift, Ellen. "Regionality in the late Roman west through the study of crossbow brooches, bracelets, beads and belt sets." Thesis, University College London (University of London), 1999. http://discovery.ucl.ac.uk/1317902/.
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A close examination of spatial variability in the specified objects in an area between the Rhine/Danube and the Loire, stretching as far as Britannia in the west and Pannonia in the East. Initially a theoretical framework is set out in the context of the archaeological background. Each object type is then analysed in terms of form and decorative style and the occurrence of specific features is shown on distribution maps. Possible production areas can be suggested for different decorative styles. The distribution maps and studies of the range of variability in each category also provide information concerning the scale of manufacture and mechanisms of dispersal; in turn these relate to the level of demand and the changing function of the object. Patterns occurring are then compared to one another and interpreted in terms of their gender and status associations and their overall economic, social, political and cultural significance for the late Roman Western Empire. Links are established between different regions and it is possible to trace the movements of those travelling with the army. Many sites can be shown to have a significant foreign element, with clusters of associated objects which can be sourced to another area. Concentrations of finds along the frontier and in linear distributions in other areas give an indication of contemporary activity at adjacent sites, and shifts in the spatial patterning of objects during the fourth to fifth century transition period provides a fresh insight into the late Roman west and beyond.
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Barnes, Veronica. "The effect of serial production on domestic artefacts and jewellery." Thesis, Cape Peninsula University of Technology, 2005. http://hdl.handle.net/20.500.11838/1314.
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Thesis (MTech (Design))--Cape Peninsula University of Technology, 2005This thesis investigates how serial production has influenced the design of artefacts, jewellery and/or domestic products since 1990, with a focus on Italy and South Africa. The study also looks at the roles played by design, technology and serial production in the perceived value ofartefacts. There are fundamental differences in consumer attitudes to serial production in industrial and jewellery design. Handmade jewellery is perceived as more valuable than its mass produced equivalent, whilst mass produced domestic products do not have the same negative association. The motivation of this study is to identify the role played by serial production processes in the perceptions of quality of mass-produced products with the aim of improving the perceived quality of South African jewellery and thus expanding the market. In order to illustrate how serial production has influenced the design of artefacts, three key areas were researched: the influence of the concept of serial production on the physical forms of artefacts; physical aspects of the serial production processes that have influenced forms of artefacts; and abstract ideas of quality communicated through the process of serial production. It was found that quality did not appear to be communicated directly through the physical process of serial production. The Italian industrial designers, in particular, seemed to have a well-developed sense of personal design philosophy, which could be developed among South African jewellery designers while they are studying or while they are working in industry. Expectations of the function ofjewellery mean that the role of jewellery design is different to that of the product designer. A branding initiative to raise the profile of South African jewellery is recommended. The South African jewellery industry also needs to invest in new production technologies. The establishment of training in the new production technologies, especially rapid prototyping, for jewellery students is seen as imperative.
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Bartley, Roseanne, and bartleybila@netspace net au. "The Crafting of Text on Emblematic Objects: Jewellery and Tableware." RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090331.115853.
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This project examines the historical use of text on emblematic objects and through a studio-based practice investigates the signifying properties of object, text and material in the communication of symbolic message. It involves the manufacture of contemporary jewellery and tableware in traditional and non-traditional materials and references cultural and political themes. The symbolism of these themes has been explored through the visual and material applications of selected text, the collection and manipulation of found material (found with or without text), and how meaning can be symbolised through the transcendent manipulation of form. In my research I examined the established history of emblematic objects, which through their incorporation of text, their function and scale in relation to the body, organise, distinguish, categorise, unite or isolate groups of people. In my research I established that text has been employed by gold and silversmiths through out history and in a variety of ways - to narrate messages, as an abstract decoration, or as a means of identifying the maker but the graphic potential of text as a visible sign was rarely demonstrated. With this studio based project I was interested in investigating the signifying properties of text and the creation of a dynamic relationship between text, form and material as a means to communicate symbolic meaning. My research establishes the potential of the metaphoric and material language of jewellery and tableware to make reference to and communicate within contemporary cultural and political dialogues.
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Johansson, Nina Desiré. "Jewellery in the logic dreams - på jakt efter drömkänslan i konsten." Thesis, Konstfack, Ädellab/Metallformgivning, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4170.
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Nina Johansson starts her essay by making some examples of dreams to show the diversity of the ”dream world”. She speaks of how all humans dream, that it ties us together. She wants to translate the “feeling of dreams” into wearable objects, and to be able to do that, she must try and describe what that feeling consists of. She describes the specifics of what she is looking for by naming different kinds of dreams and homing in on what she calls “dream logic” as the subject that interests her the most. She continues to talk about the relation dream/body, and comes to the conclusion that it is vital in her work. She is looking for some kind of “dream aesthetics”, and researches the field by making a selection of artwork that she feels embodies that. The selection is made mainly through discussion with peers. Field: Nina Johansson explores the field by discussing different works of art in the fields sculpture, visual art, literature, film and jewellery art. She makes comments on how these works connect to her case and concludes that the art she feels connects best to dreams is art that leaves the viewer room for interpretation. Material: Nina Johansson means that her choice of material and execution is vital for the outcome of her work. She speaks of how different materials carry specific, collective meanings that she can use when trying to interpret the dream feeling in her own art. She is especially occupied with the way these materials “feel” and how they connect to the body. Relevance: Nina Johansson talks about the unique position a jewellery artist has when it comes to expressing emotions connected to the body (such as these dream feelings). She feels that this position is often overlooked, and she wants her work to be dependent of the body. Conclusion Nina Johansson concludes by trying to answer the question of dream aesthetics. She means that while there are specific dream modes that many of us can recognize, these have more to do with the narrative of dreams than the aesthetics. She then finishes the essay by speculating that the narrative might actually be the aesthetics when it comes to dreams.
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McFadyen, Angus Hector. "Aspects of the production of early Anglo-Saxon cloisonne garnet jewellery." Thesis, Manchester Metropolitan University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284863.
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The aim of this study was to examine aspects of the manufacture of early Anglo- Saxon cloisonn6 garnetjewellery and, wherever possible, to test current theories relating to the different techniques involved. The tests were based on information taken from the following sources: early technical literature dating from the flirst to the twelfth centuries A. D.; more recent literature presenting analyses of materials and methods of construction; a visual, non-destructive examination of surviving examples of Anglo-Saxon jewellery, in particular the Kentish disc brooches from the late sixth and early seventh centuries. The thesisi s presentedin two parts.T he first chaptero f part one lists and discusses the early technical literature in which both materials and methods of production are described. The second chapter examines archaeological evidence of tools relating to the period. Part two of the thesis takes each process in turn and discusses the most relevant literature, ancient and modem, including published analyses of materials and current theories as to production techniques. Each chapter contains descriptions of the tests undertaken and the conclusions reached. As a result of the tests, a clearer understanding of the whole process of making a piece of jewellery is possible, for example the way in which one technique relates to another and the way the techniques appear to have influenced the design of the jewellery. The processesfo r which examination and testing producedt he most conclusive evidence were casting, niello, beaded wire and soldering. The making and shaping of gamet plates was less conclusive, but still produced significant evidence, particularly with regard to the type of garnet from which they might have been made. The question of the possible number and location of workshops was also considered and it is suggested here that while it is possible to group some work on the basis of stylistic features and technique, it is not possible to determine how many workshops were involved. The techniques could have been practised anywhere, and since no site in England could have provided all the necessary materials, it is not possible to speculate as to the location of workshops using techniques or materials as indicators.
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Padfield, Maureen. "Out in the trade : the occupational community of Birmingham's jewellery quarter." Thesis, University of Warwick, 1990. http://wrap.warwick.ac.uk/34821/.
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The Jewellery Quarter of Birmingham has its base in small interdependent workshop craft production in a long-established location for which the concept of occupational community appeared an appropriate research tool. The ahistorical approach of studies of occupational communities is critically addressed and it is argued that the theory of occupational community can be deployed historically to investigate the particular conditions of the Jewellery Quarter and explain the construction of these over time. The origins of the industry in Birmingham are investigated in detail and the patterns of localisation together with the structure and organisation of the industry in the nineteenth century are analysed. The establishment of the local formal institutions which developed to support the industry is traced. An account is given of redevelopment, refurbishment, and recession in the post-war era. The current location of firms in the area is analysed, together with the organisation of work in the local industry. The occupational community of the Jewellery Quarter is described and analysed. The nature of interdependence, the daily interaction and the role of family are explained. The concept of work-in-leisure is discussed in relation to the Jewellery Quarter. The formal methods of recruitment to the local industry are reviewed against the needs of the local industry, and it is shown how the community itself acts as an informal channel of recruitment. The ambiguities surrounding women's employment in the industry are explored. While women are still concentrated in low-paid, low skilled work, it is argued that historically they have also been present as owners and craftswomen, and the factors which enable this are analysed. The methodology used in the study is detailed and the link between the methodology and concept of occupational community is discussed. In this study the broad use of the theory of occupational community has shown how the historical pattern continues to influence the community. Finally it is argued that the study contributes to the current debate on small firm survival and persistence.
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Sirivesmas, Veerawat. "A new model of instruction and learning in contemporary jewellery education." Thesis, Birmingham City University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423072.
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Baker, Jocelyn Margaret. "The colour and composition of early Anglo-Saxon copper alloy jewellery." Thesis, Durham University, 2013. http://etheses.dur.ac.uk/10550/.
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Copper alloy artefacts are amongst the most prolific material remains from the early Anglo-Saxon period (450-650 CE). This research attempts to circumvent the limitations of previous disparate and unconnected typological and metallurgical approaches to these objects by investigating copper alloy jewellery from a holistic interdisciplinary approach. In particular, colour is used as a major new variable, a characteristic that would have been relevant to the Anglo-Saxons as craftsmen and as consumers. This method can reveal the choices that faced Anglo-Saxon craftsmen in the manufacture of these objects and in the use of their materials according to variables relevant and appropriate to their world. All past quantitative composition data relating to this period are reanalysed collectively, to interpret and model metal supply dynamics and recycling traditions. A visual context for copper alloys is created using linguistic frequency analysis of Old English colour words alongside a discussion of other Anglo-Saxon coloured material culture. The application of quantitative colour measurement to archaeological material and the factors affecting colour in various copper alloys on a structural level is also delineated, including quantification of the limits of human colour distinction and perception, the effects of tarnish on colour, and the overlap between copper and precious metal colour space. A new dataset comprising semi-quantitative ED-XRF composition data and quantitative colour measurements from over two-hundred archaeological samples allows the context of colour and composition to be discussed, providing insight into issues of value, aesthetics, trade and metal supply, and control.
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Burger, Idane. "Contemporary jewellery practices and the dialogic interpretation of African material culture." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80080.
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Thesis (MA)--Stellenbosch University, 2013.ENGLISH ABSTRACT: In this thesis I examine the extent to which interpretations of African material culture play a role in the creation and visualisation of an ‘African aesthetic style’ in South African contemporary jewellery practices. My investigation of an ‘African aesthetic style’ in this thesis is informed by the production, display and writings on African cultural objects. I demonstrate contemporary jewellery design to derive from a critical methodology, particularly as it facilitates a renegotiation of the relationship and dialogue between the producer and viewer of contemporary jewellery objects.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek ek die wyse waarop interpretasies van Afrika materiële kultuur 'n rol speel in die skepping en die visualisering van 'n 'Afrika estetiese styl' in Suid- Afrikaanse kontemporêre juwelierspraktyke. My ondersoek van so 'n styl is ingelig deur die produksie en uitstalling van, sowel as diskoerse rondom Afrika kulturele objekte. Ek ondersoek kontemporêre juweliersontwerp as 'n kritiese metodologie, veral ten opsigte van die wyse waarop dit 'n nuwe verhouding tussen die vervaardiger en toeskouer van kontemporêre juweliersobjekte fasiliteer.
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Konstantinidi, Eleni M. "Jewellery revealed in the burial contexts of the Greek Bronze Age." Thesis, University of Birmingham, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.686183.
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Swigelaar, Neeka Keisha. "An analysis of jewellery advertising through the lens of feminist theory." Thesis, Cape Peninsula University of Technology, 2019. http://hdl.handle.net/20.500.11838/3099.
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Thesis (MTech (Design))--Cape Peninsula University of Technology, 2019The purpose of the study is to examine to what extent mainstream commercial jewellery advertisements construct the perception of gender within their representations. The study focuses specifically on the representation of women and femininity within jewellery advertisements. The way in which these advertisements construct ‘what it is to be a woman’ is studied through the lens of feminist social constructionist theory. In particular, the study focuses on jewellery advertisements of De Beers and Tiffany & Co. The research question the study aims to answer is, firstly: in what manner, as compared to both third- and fourth-wave feminist theories and recent social movements in women’s rights, do mainstream commercial jewellery advertisements reinstate societal gender role expectations, in particular that of the female body and femininity; and subsequently: how contemporary mainstream commercial jewellery advertisements intersect with feminist theories of power, ownership and sexuality and how mainstream commercial jewellery advertising has adopted ‘commodity feminism’ to start presenting femininity as ‘owning/doing’ a sexual body and gaining empowerment from that sexual power. In short the study aims to investigate how mainstream commercial advertising, in particular jewellery advertising, supports or subverts the construction of gender expectations and roles. The advertisements of Tiffany & Co. and De Beers are compared to other ads that reflect third- and fourth-wave feminist thinking, to investigate the possibility of interesting alternative representations of femininity and female bodies. This study makes use of a qualitative research approach, that of critical theory, and in particular feminist theory and textual analysis. The method of research that is employed is that of Semiotic Analysis. The methods of visual/sign analysis and linguistic analysis is used to probe jewellery advertisements. Thus the pictures (setting, framing, pose, composition) as well as the words are analyzed in relation to gender representation.
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O'Hana, Sarah. "Laser processing on titanium for contemporary jewellery : a bridge between cultures." Thesis, University of Manchester, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633046.
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Miller, Melissa Anne, and mel miller@gmx com. "Persuasions of Memory: The Metamorphosis of Memory in the Precious Object." RMIT University. Art, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091014.103429.
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This project takes the portrayal of memory in wearable jewellery and jewellery object making in two directions. The relationship between memory and the experiences it represents is revealed within the singular jewellery object through structural, iconographical, or material relationships among elements of the object. Reinterpretations of the original primary jewellery object result in series of jewellery objects and wearable jewellery that express ideas about the altering of memory. Jewellery objects with removable wearable jewellery components act as memory models, revealing ideas about memory processes through the relationships among their elements. The juxtaposition of soft and hard materials is used as a metaphor of memory. The result of the project is a body of work consisting of wearable jewellery and jewellery objects1 which manifest ideas about memory; specifically, the relationship between memory and the experiences it represents. The work draws on traditions in the gold- and silversmithing field of creating objects to be used as signifiers of memories3 and mnemonic devices. The primary aim of the project is not to create direct representations of personal memories or collections of found objects that represent cultural histories. Instead, the work engages in a visual and tactile exploration of memory itself: the processes of remembering experiences and the alteration of memory over time. Series of jewellery objects and wearable jewellery reveal ideas about the relationship between memory and experience both within singular objects and among altered objects in series.
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Silve, Sarah. "Laser forming and creative metalwork." Thesis, Bucks New University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342089.
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Cunningham, Jack. "Contemporary European narrative jewellery : the prevalent themes, paradigms and the cognitive interaction between maker, wearer and viewer observed through the process, production and exhibition of narrative jewellery." Thesis, Glasgow School of Art, 2008. http://radar.gsa.ac.uk/4948/.
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The focus of this research lies within the field of contemporary studio jewellery, a discipline that has a variety of strands that includes the purely aesthetic, technique led, through concept based to architectonic. A further hybrid of contemporary jewellery is the narrative genre. More specifically this research examines how narrative might be defined and takes a position viewed from a European perspective. Chapter 1, Rationale & Contextual Review, examines contemporary studio jewellery and positions a definition of narrative jewellery within this wider framework. Chapter 2, Defining the Field, identifies global paradigms. The interrogation of the subject examines the correlation between themes and subject matter and the ethnographic factors that influence creative outcomes. The hypothesis proposes that these creative outcomes are universal in their translation whilst reflecting a relationship between environmental influence and ethnographic origin Chapter 3, Narrative Themes, presents an overview of current European makers. Through the author's role as exhibition curator, this chapter identifies prevalent themes and preoccupations selected from the exhibition ‘Maker-Wearer-Viewer’ which surveyed the work of over seventy makers from twenty European countries. Chapter 4, Source, Process & Practice, locates the author’s self-reflective practice within the field by examining the correlation of narrative subject matter, source material and the creative process employed. The importance of source material and its influence on the creative process is examined through reflexive practice. Further research examines the interactive relationship between the maker and wearer, and the response of the viewer. Through practice-based research, the design and making process, the authors’ narrative jewellery is clearly defined within a wider context.
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Williams, Leon B. M. "The development of digital technologies for use in jewellery with medical applications." Thesis, Royal College of Art, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.559751.
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If medical products were to possess the qualities of ' desirability' that are commonly associated with jewellery, positive user interaction would be enhanced. The wearer would be able to use medical products with pleasure and confidence, without fear or social stigma, and in doing so retain an element of personal control which might otherwise be lost to them. This research addresses intersections between the two disciplines of craft and science of medicine. It focuses on developing new digital jewellery capable of monitoring the medical parameters of a patient as well as redeveloping specific products such as the Asthma Inhaler, the Diabetic Insulin-Pen, and the Human Immunodeficiency Virus Medication Carrier. The aim in each case was to produce a more effective and user-friendly set of items. This research also facilitates the categorisation of jewellery artefacts which have a medical purpose, evaluating the benefits of devising new designs to ameliorate known problems, such as, iatrophobia (a phobia of seeking medical advice from a doctor or medical expert), or sociophobia (fear of being negatively judged in social situations).
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Fabregues, Chantal. "The jewellery of the Gandhara sculpture in Schist and its chronological significance." Thesis, SOAS, University of London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262360.
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Soni-Sinha, Urvashi. "Gendered labour process and flexibility : a study of jewellery production in India." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/4382/.
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This study focuses on the production of handmade and machinemade jewellery in three sites in India: Noida Export Processing Zone (NEPZ), Delhi and Medinipur. It draws from and contributes to two strands of literature and extends them. One is the gendered literature on export processing zones (EPZs) and export oriented industries (EOIs). The other is the literature on globalisation, feminisation and flexibility. The thesis poses two major research questions. First, how are jobs in jewellery production constituted as masculine or feminine? Second, how do masculinised and feminised jobs relate to flexibility? The evidence I use to answer these questions is based on materials collected in the course of two field trips to India, of nine months and two months duration between 1996-1998. A questionnaire survey, non-participant observation and semi-structured interviews were used as methods of data collection. Contrary to much of the literature on EPZs, machinemade jewellery production in NEPZ is predominantly male with 25% female work participation, and handmade jewellery production in NEPZ is entirely male with no female work participation. Handmade jewellery in Delhi has a marginal representation of women as family workers. Only in handmade chain production in the villages of Medinipur is the female labour predominant, in the form of hidden women homeworkers, constituting 64% of the labour time. My study shows that the gender division of labour is not a fixed or given entity but a product of discursive and material practices, which are reproduced through discourses into which different actors invest, and which feed into the gendered subjective identities of these actors. The study breaks down the assumption of a formal labour market in EPZs. There is a wide prevalence of male child labour and subcontracting in all three sites of handmade jewellery production. Contrary to the literature on EPZs and EOIs which show that it is the feminised jobs that are flexible, in machinemade jewellery production in NEPZ there is a slight feminisation of flexibility but it is not very significant. In the handmade jewellery sector in NEPZ and Delhi, labour market flexibility is occurring with a largely masculinised labour force. In Medinipur all labour is flexible and since there is greater representation of women in the labour time, there is some feminisation of flexibility. So no clear linkage can be drawn between the feminisation of jobs and flexible labour within the jewellery industry in India thus complicating the debates on feminisation and flexibility. The study underlines the importance of localised industry studies which are not bounded by a particular space.