Dissertations / Theses on the topic 'National Gallery of Jamaica'
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1
Ward, Debbie, and n/a. "Textile conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.174356.
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Niciarelli, Elena <1989>. "Brand Community. Tate e The National Gallery." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19210.
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Il concetto di Brand Community non è nuovo, ma appare ne testi di Muniz e O’Guinn tra la fine degli anni ’90 e l’inizio del 2000. Tuttavia nel tempo, la letteratura scientifica sull’argomento brand community è aumentata, e il digitale, il mondo virtuale e le ICT hanno provveduto ad apportare ulteriori modifiche e cambiamenti.
Lo studio analizza e descrive la brand community delle organizzazioni culturali, nello specifico di due musei situati nel Regno Unito. Tate e The National Gallery sono messi a confronto per descrivere come un museo multi sede e un museo mono sede inglese, abbiano attivato differenti comunità di marca in loco, virtuali, social e online.
Per rincorrere sia una valenza teorica che empirica del concetto, dopo una presentazione generale sul tema, la metodologia di lavoro si concentra sullo studio complessivo dei due Musei e ne descrive le differenze, utilizzando i dati a disposizione degli ultimi anni. Il tema della brand community e del digitale, del virtuale, dei social, della post millennial community, ha una forte struttura in un museo multi sede, che vede differenti collezioni, consumatori, territori, membership, associazioni coinvolte. La National Gallery londinese ha una community digitale più concentrata sulle esposizioni temporanee, meno sulla collezione permanente, dove tuttavia si concentrano i patrons, i fedelissimi del marchio, e non ha ancora attivato una young community chiara come quella alla Tate.
L’epidemia del 2020 ha messo in luce potenzialità e carenze nell’online dei due Musei, spingendo entrambi ad una maggiore informatizzazione e digitalizzazione, al fine di rincorrere e servire tutti i pubblici, creare vincenti brand community e strutturare quelle esistenti.
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Smith, Phillip H. (Phillip Hoit) Carleton University Dissertation International Affairs. "The Jamaica Broadcasting Corporation and the Manley government 1972-1980; conflicting views of national development." Ottawa, 1988.
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Urquhart, Ian McLeod, and n/a. "An internship in painting conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.162330.
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My employment in the Paintings Section of the Conservation Department
of the Australian National Gallery began in June 1983, however my
internship did not begin until March 1984 under the supervision of
Allan Byrne.
At that time, the paintings section was divided, rather arbitrarily,
into: paintings pre-1940, headed by Ilse King and; paintings
post-1940, headed by Allan Byrne.
Because of the departure of the then senior curator of conservation Dr
Nathan Stolow, Allan Byrne became acting senior curator. When Allan
Byrne took up the position of lecturer in paintings conservation at
C.C.A.E., Ilse King then became acting senior curator and my
supervisor; the division within the painting section was then
disbanded.
Jac Macnaughtan departed temporarily from the department to undertake
study and to work at the Tate Gallery and at the Courtauld Institute
in London leaving me with the paintings section.
I was fortunate enough to have at first one assistant Simon Hartas,
then two assistants, Mark Henderson and Les Cormack to help with the
task of backing, framing and restretching paintings.
There was no formal training programme for an intern - work was
undertaken as it came into the department and as it was allotted.
For the sake of simplicity and ease of handling the dissertation is
divided into 3 parts:
Part 1 includes the Functions and Facilities of the conservation
department.
Part 2 includes an outline of painting conservation practice within
the gallery and details of conservation work undertaken.
Part 3 comprises a project on some of the properties of hardboard.
As the gallery has in its collection a considerable number of
paintings on hardboard, to augment my knowledge and perhaps give some
insight into the nature of hardboard, this project was undertaken in
conjunction with the internship.
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Perry, Lara Ann. "Facing femininities : women in the National Portrait Gallery, 1856-1899." Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/2479/.
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Conlin, Jonathan. "The origins and history of the National Gallery, 1753-1860." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.440592.
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Sewell, Andrew Fitzgerald. "Prospects for improving the resource allocation process for National Security in Jamaica : a comparitive study /." Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2004. http://library.nps.navy.mil/uhtbin/hyperion/04Jun%5FSewell.pdf.
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Graham, Sarah. "An analysis of efficiency in banking : a case study of the People's National Cooperative Bank of Jamaica." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/97401.
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Thesis (MDF)--Stellenbosch University, 2013.ENGLISH ABSTRACT: This research report is a case study of a rural agricultural cooperative bank, the People’s National Cooperative Bank (NPCB). The NPCB has its foundations in the early 1900s and today operates 37 branches across the island of Jamaica. Notwithstanding its history, the NPCB has continued to suffer from issues related to overall profitability and therefore has undergone various transformations and amalgamations of branches over the years. This study involves a comparative analysis of branch performance based on branch-specific financial data. Best and worst practice banks are identified along with their key characteristics in order to pinpoint areas of operations that may benefit from improvement. It is suggested that the variance in the level of efficiency with which resources are employed and incomes earned are factors which affect the level of performance of individual branches. The findings of the research indicate large variations in branch expenses, incomes and lending rates and suggest the need for further examination of branches on a case-by-case basis in order to better facilitate improvements in their respective levels of efficiency.
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Cains, Carol, and n/a. "Internship in textile conservation at the Australian National Gallery, 1981-1984." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20060623.130749.
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Dias, Rosemarie. "John Boydell's Shakespeare Gallery and the promotion of a national aesthetic." Thesis, University of York, 2003. http://etheses.whiterose.ac.uk/2532/.
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Waugh, Elizabeth Rosalie Faith. "Emergent art and national identity in Jamaica, 1920s to the present." Thesis, Queen's University Belfast, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356903.
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Lalta, Stanley. "The design of national health insurance : evaluation of options for Jamaica." Thesis, London School of Hygiene and Tropical Medicine (University of London), 2009. http://researchonline.lshtm.ac.uk/768496/.
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This study presents findings from evaluating, ex ante, the options, implications and feasibility of a major health financing policy change from a largely tax-based to a principles. system following universal national health insurance (NHI) The case country used is Jamaica a small middle-income country faced with contribution-based fiscal and health financing constraints and prodded into the policy choice of persistent NHI in 1996 by recommendations of consultants, international organizations as well as the opportunity provided by its externally funded Health Reform Programme (1997-2005). The approach adopted was to define NHI options by commencing with government's in its 1997 Green Paper on NH! as the baseline; ascertaining from local proposals stakeholderstheir recommendationsfor an NHI plan and eliciting lessonsand design variables from the international experiencewith NHI-type systemsto derive a prototype. This was followed by financial modelling of likely inflows and outflows in each option; assessmentof their merits and viability using criteria such as population coverage, benefits, risk pooling, equity, efficiency, and size of contributions by government; and ranking of scoresto derive a preferred option. workers and As an ex ante analysis (since NHI has not been implemented in Jamaica), the the prototype to be the highest ranked option. It also found that found continuing study macroeconomic difficulties, institutional weaknesses and likely opposition from key stakeholders - factors which affected confidence and derailed the 1997 NHI some proposals for In terms of overall significance, the study highlights international - would still pose major challenges decision makers and planners. ambivalence over design benefit aspects of NHI such as single package and timing of universal coverage. For implementing NHI in Jamaica,it vs. suggestsareas for further research and action such as specifying and phasing benefits; improving aswell asachieving collection systems, quality of health services and targeting stakeholder consensus.
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Sewell, Andrew Fitzgerald. "Prospects for improving the resource allocation process for National Security in Jamaica: a comparative study." Thesis, Monterey, California. Naval Postgraduate School, 2004. http://hdl.handle.net/10945/1513.
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Approved for public release; distribution is unlimitedThe identification, selection and employment of better resource allocation models or practices is the aim of this research. As nations seek to employ their resources in a more efficient manner while deriving more effective outputs, those elected to public office must be willing to involve other members of the society in their decision-making. National security is one such area that is in need of a shared vision if it is to achieve the desired results. This paper examines the resource allocation process for national security in Jamaica. The purpose of this study is to establish whether the current process is adequate for addressing this aspect of the country's expenditure, as it impacts upon every citizen and every other area of the nation's affairs. In establishing whether the Jamaican model is adequate, a study of the processes used in three developed countries, namely Canada, the United Kingdom, and the United States is done with a view of identifying the strengths and weaknesses of each process. The understanding of best practices in the field of national security is important, since after all, foreign trade and hence economic prosperity are more likely to be associated with nations that create secure environments. How much to allocate to defense and the consideration of all other viable alternatives is crucial. Only then can the nation look objectively at its unique situation.
Major, Jamaica Defence Force
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Bennett, Hazel E. "A history of libraries in Jamaica, 1697-1987." Thesis, Loughborough University, 1987. https://dspace.lboro.ac.uk/2134/7497.
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The History traces the development of libraries in Jamaica from the late seventeenth century to the present day. It examines reasons for the spate of anti-popery material in the earliest collections, and treats the subsequent story within the context of socio-economic conditions. Note is taken of the efforts of Ministers of Religion to inculcate the habit of reading among both the white and black population, as a means of improving their minds and strengthening their moral fibre. Increasing respect for books and demand for information appear, as the country puts aside its colonial status and assumes responsibility for its own destiny. The History documents the growth of the Jamaica Library Service, the emergence of the National Library of Jamaica, and the establishment of NACOLADS (the National Council on Libraries, Archives and Documentation Services) now regarded as a model for such development in the Third World.
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Hahn, Catherine Neville. "The political house of art : the South African National Gallery, 1930-2009." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19314/.
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The thesis analyses modes of representation in the South African National Gallery (SANG) between 1930 and 2009. Built in 1930, for the larger part of its history SANG was situated in a white state that disenfranchised the black populace. Whiteness, as citizenship, was normalised and glorified in the state’s museums. Analysis of evidence collected from the archive, décor, art collection, exhibitions, attendance of walking tours and semi-structured interviews with staff demonstrates that SANG’s historic practice does not fit neatly within the dominant theoretical understanding of the art museum, namely a sacred space in which power has been obscured through the ‘art for art’s sake’ model. Instead, the thesis finds at SANG invisible symbolic capital resided alongside the more muscular capital of the colony, which derived its strength from an overt relationship with commerce, politics and race. The thesis further finds that SANG developed a close relationship with its white audience through its construction as a ‘homely space’. As a consequence, I argue SANG developed museological conventions that better fit the analogy of the political house than the temple. Taking new museum ethics into consideration, the thesis examines how SANG’s distinctive heritage impacted on its ability to be inclusive. My fieldwork on recent representational practice at SANG reveals strategies congruent with the post-museum, including performative political exhibitions, diversification of the collection and active dialogue with the communities it seeks to serve. At the same time embedded modes of white cultural representation were identified that restricted its capacity to ‘move-on’. The thesis contributes to the field of museum studies by drawing attention to the significance of the individual histories of art institutions in determining their ability to make change. The thesis also contributes to the field of visual sociology by presenting images and ‘map-making’ as an integral feature of the research design.
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Pezzini, Barbara. "Making a market for art : Agnews and the National Gallery, 1855-1928." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/making-a-market-for-art-agnews-and-the-national-gallery-18551928(4f296d6c-997a-4eab-95ca-bace7b9c3596).html.
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The thesis investigates the interaction that developed between a major art dealer, Thos. Agnew and Sons (Agnews), and a principal public collection, the London National Gallery, from 1855 to 1928. Agnews played a crucial role in the life of the National Gallery and greatly facilitated the museum accession of important paintings, such as the Madonna Ansidei by Raphael, the Rokeby Venus by Velazquez, the Portrait of Doge Vincenzo Morosini by Tintoretto, and many others. In turn, collaborating with the National Gallery allowed Agnews to penetrate the international Old Masters market and reach for higher social standing. Through the analysis of ten case studies of acquisitions, which are supported by new archival evidence and are contextualised within a broader historical and theoretical framework, this thesis charts the emergence, development and decline of the rapport between the two organisations. It analyses how Agnews and the National Gallery began as two unconnected entities in the mid-nineteenth century, explores how their distinct trajectories turned into a close, collaborative rapport during the 1880s, and finally examines how in the third decade of the twentieth century they separated and initiated a newly detached professional relationship. Appropriating sociological theories by Pierre Bourdieu, Bruno Latour, Viviana Zelizer and others, this study investigates museum acquisitions as resulting from complex interplays of cultural and commercial forces within the field of cultural production. Acquisitions are further enlightened by the analysis of the networks that underpin them, which provide additional evidence on how economic factors are embedded within broader social constructs. By detailing and locating these processes and relationships within the historical context of a broad shift towards commercialisation, yet demonstrating that cultural elements are part of the dealers activities and that commercial values are an intrinsic component of the museum, this study provides an insight into the historical origins of modern-day relationships between museums and art dealers.
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Morosinotto, Erica <1992>. "L'immagine della National Gallery tra cataloghi ufficiali e pubblicazioni indipendenti (1824-1914)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/9245.
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L'immagine che un museo dà di sé risulta fondamentale per capirne l'essenza. L'analisi delle pubblicazioni ufficiali e indipendenti riguardanti la National Gallery dalla sua fondazione allo scoppio della Prima Guerra Mondiale mostra lo sviluppo subito dall'istituzione inglese che da una galleria simile a quelle private è diventata uno dei più importanti musei pubblici al mondo.
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Collins, Lindsey. "Dissimulating women Jamaica Kincaid's Annie John and Autobiography of my mother /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0010833.
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Dunn-Smith, P. J. "The National Vocational qualifications framework in Jamaica : its formation, reform and implementation." Thesis, University of Sheffield, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632551.
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Doucette, Valerie Anne. "The art museum in code: display strategies of the National Gallery of Canada." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97220.
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This thesis explores the ways in which the art museum as a powerful cultural medium shapes the public understanding of artworks and how this work is affected by digital media when the museum displays art online. In an analysis of the National Gallery of Canada (NGC) I focus on how the artwork is encountered and understood in physical and digital contexts through the examination of three modes of museum practice: memory, information, and narrative. I compare each mode's manifestation in the physical museum space to its digital translation, revealing that the NGC largely reproduces its objective, highly authored, and one-way communicative practices in digital space. Other online interfaces such as the steve.museum project and the Art Matters blog of the Art Gallery of Ontario are examined as possible alternatives to the NGC's approach through their use of more open, collaborative, and social practices made possible by digital media.La présente thèse examine l'influence du musée d'art en tant que milieu culturel important sur la compréhension des objets d'art par le public et les répercussions des médias numériques sur ces œuvres quand le musée les affiche en ligne. Pendant l'analyse du Musée des beaux-arts du Canada (MBAC), je cherche à déterminer comment les objets d'art sont rencontrés et perçus dans leurs contextes physique et numérique en examinant trois contextes pertinents au musée : la mémoire, les renseignements et la narration. Je compare la manifestation des trois contextes dans l'espace physique du musée à leur traduction numérique, ce qui révèle que le MBAC reproduit de très près ses pratiques à communication unilatérale objectives et consignées dans l'espace numérique. J'examine également d'autres interfaces en ligne, notamment le projet steve.museum et le blog Art Matters du Musée des beaux-arts de l'Ontario, comme autres options à l'approche du MBAC pour leur usage plus ouvert, plus collaboratif et plus social rendu possible par les médias numériques.
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Freestone, Mellor Paula. "Sir George Scharf and the problem of authenticity at the National Portrait Gallery." Thesis, University of Oxford, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728997.
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Hersov, Mary. "The temporary exhibition in the Sainsbury Wing, National Gallery : commission, design and outcome." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/19861/.
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The Sainsbury Wing, the National Gallery’s new extension, opened in July 1991. It had the primary aim of providing new galleries for the Early Renaissance collection. It was also intended to give a new outward-looking face for the Gallery with expanded public facilities, including a larger temporary exhibition space. However, this space has been much criticised for its basement location and resulting lack of natural light. The rooms are limited in size and some are irregular in shape which make it difficult to install larger works and to provide enough viewing space for visitors to popular shows. This thesis investigates why the Gallery decided to build this space, why the design was developed and what were the consequences. It looks at the history of temporary exhibitions - the spaces they need in London and abroad. Using archive material and conversations with participants, it pieces together the convoluted story of the building of the temporary exhibition galleries in the Sainsbury Wing. It examines the many briefs, the involvement of the architects, Venturi Scott Brown, and explains how the resulting design developed. It then relates how the Gallery used the space for its expanded exhibitions programme and considers its advantages and disadvantages. In the conclusion, it makes some recommendations for the best way to create new exhibition galleries for the future. The thesis sheds new light on an aspect of institutional history of the Gallery. It provides an original analysis of an area of the Sainsbury Wing which has been little discussed. As a case study for the design of facilities for temporary exhibitions, it underlines the importance of these spaces and analyses the specific needs and requirements.
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Ogilvie, Jaimie S. A. "Enhancing national security in Jamaica through the development and employment of special forces." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2005. http://library.nps.navy.mil/uhtbin/hyperion/05Jun%5FOgilvie.pdf.
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Galastro, Anne Bernadette. "Institutional history of the Scottish National Gallery of Modern Art : tensions, paradoxes and compromises." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7899.
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This study provides the first comprehensive account of the institutional history of the Scottish National Gallery of Modern Art (SNGMA) from the earliest calls for its foundation at the start of the twentieth century to the recent series of exhibitions marking its fiftieth anniversary in 2010. The SNGMA is both a unique case‐study and a useful illustrative example of the specific category of modern art museum: the account of its history sets the institution within its wider cultural context and explores the inevitable complexities facing a public gallery devoted to modern art. The study examines how the institution has balanced the need to represent a full historical survey of modern art with the desire to engage with the contemporary, and how it has addressed the question of collecting and displaying the work of Scottish artists alongside international art. By providing a close documentary analysis of the evolution of the institution, drawn from within the Gallery’s own archives, combined with extended reflections on the central dilemmas it has had to face, the study constitutes an original contribution to museum scholarship. Various methodologies are employed to assess the diverse factors that have affected the institution’s development. The narrative confirms the close correlation between the architectural frame and the public perception of the institution. It traces the evolution of the acquisitions policy and notes how this shaped the permanent collection, allowing a shift from an aspiration to universal coverage of the international trends of 20th century art to a more targeted specialisation in certain areas, primarily Dada and Surrealism. It charts the attitudes towards temporary exhibitions and the display of the permanent collection, and examines these in the light of current exhibition theory and practice. The analysis concludes that the SNGMA has been largely successful at achieving the aims and ambitions it originally defined for itself, although its role is constantly evolving in response to changes in the broader context of art museums.
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Yoshie, Yoshiara. "Art museums in a diverse society : a visitor study at the South African National Gallery." Thesis, SOAS, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498502.
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Spence, Cathryn Helen Gordon. "A passionate vision and its legacy : the national gallery of British art at South Kensington." Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521759.
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Trodd, Colin. "Formations of cultural identity : art criticism, the National Gallery and the Royal Academy, 1820-1863." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358796.
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Lilla, Qanita. ""The advancement of art" : policy and practice at the South African National Gallery, 1940-1962." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/18426.
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Includes bibliographical references (pages 125-138).This thesis is an enquiry into the policies and practices that shaped the South African National Gallery in the 1940s and 1950s. Drawing on newspaper reports, the South African National Gallery's exhibition catalogues, pamphlets and annual reports, records of parliamentary debate and the crucial report of the Stratford Commission of 1948 the study has reconstructed a detailed history of the South African National Gallery. Established in 1871 as a colonial museum catering for a small part of the settler population of British descent, the museum came under pressure to accommodate the Afrikaner community after 1948. This did not mean that the liberal ethos at the museum disappeared, however. The South African National Gallery was strongly influenced by public pressure in this period. Public outrage over controversial art sales in 1947 led to the appointment of a commission of enquiry into the workings of the museum. At the same time, the head of the Board of Trustees, Cecil Sibbett, engaged the public on matters of Modern art. The museum's conservative and controversial Director, Edward Roworth was replaced in 1949 by John Paris who ushered in a new phase of development and management, encouraged the reconceptualization of South African art and reorganized the permanent collection. This initiative took place despite decreased autonomy for the Director and increased government imposition of Afrikaner Nationalist ideology. Nevertheless, the South African National Gallery avoided becoming a political instrument of the Apartheid regime.
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Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.
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Robinson, Cicely. "Edward Hawke Locker and the foundation of the National Gallery of Naval Art (c.1795-1845)." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/6272/.
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The National Gallery of Naval Art was situated within the Painted Hall at Greenwich Hospital from 1824 until 1936. This collection of British naval paintings, sculptures and nautical curiosities was one of the first ‘national’ collections to be acquired and exhibited for the general public, preceding the foundation of the National Gallery by a matter of months. Installed in the wake of the Revolutionary and Napoleonic Wars, the Naval Gallery, as it was more commonly known, was primarily founded to commemorate ‘the distinguished exploits of the British Navy’. This thesis examines how the Gallery presented a unique type of national naval history to the early nineteenth-century public, contributing to the development of contemporary commemorative culture as a result. In addition, the Naval Gallery also functioned as a forum for the exhibition of British art. This study examines how the Gallery was actively involved in the contemporary art world, liaising with the Royal Academy of Arts and the British Institution, providing patronage for contemporary artists and actively contributing toward the development of a national patriotic aesthetic. In 1936 the Naval Gallery was dismantled and the collection was given, on permanent loan, to the newly founded National Maritime Museum. As a result of this closure the Gallery ceased to be the subject of contemporary commentary and knowledge of its existence gradually declined. This thesis conducts a dedicated institutional study of the Naval Gallery in an attempt to re-establish its status as the first ‘national’ naval art collection, as a major site for the public commemoration of Nelson and as an active participant in the early nineteenth-century British art world.
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Smith, Marlene Marie. "Housing finance in Jamaica : the National Housing Trust as a model for providing low-income housing?" Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/70269.
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Anderson, Garth Orlando. "School Leadership Response to External Evaluation: A Case Study of the National Education Inspectorate in Jamaica." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/422871.
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Educational LeadershipEd.D.
The study was conducted using a qualitative case study design. It examined the perceptions and responses of leadership to the National Education Inspectorate (NEI) inspection process in a selected high school in central Jamaica that had been found to be operating at an unsatisfactory level since March, 2011. The assessment was done by collecting data from multiple sources, specifically structured and semi-structured interviews of the leadership of the institution to gain their perspectives, class observations and school documents. In addition, interviews were conducted with other important stakeholders such as parents and students to ascertain their views on the issue being studied. The findings of the study were then used to evaluate the impact of the NEI on the progress of the institution. From the findings, eight recommendations have been made relating to practice, policy and further research.
Temple University--Theses
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James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.
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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.Doctor of Philosophy (PhD)
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Morris, Andy. "The geographies of multiculturalism : Britishness, normalisation and the spaces of the Tate Gallery." Thesis, n.p, 2002. http://oro.open.ac.uk/18912.
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Limbos-Bomberg, Nathalie. "The ideal and the pragmatic, the National Gallery of Canada's Biennial Exhibitions of Canadian Art, 1953-1968." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57706.pdf.
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Abbo, Mayer S. "Transforming and revealing a footprint of place : new National Gallery of Art Project, San Jose, Costa Rica." Thesis, Massachusetts Institute of Technology, 1992. http://hdl.handle.net/1721.1/62908.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1992.Includes bibliographical references (p. 293-297).
The primary focus of this investigation is the insertion of a new piece in an environment where the natural elements of site and the man-made elements of city can begin to inform the ordering systems used in the design process. The existing footprint of the ruins of La Antigua Penitenciaria, in the center of the Costa Rican capital, San Jose, is transformed in meaning and character to become a cultural center for the city. The problem presented is a contextual one of making a place in the world through a reading, cataloguing and reinterpretation of /lature, city, and culture. The .goal of the process is a building that reveals the meaning of its present time and place, set in a landscape that tells stories of its past.
by Mayer S. Abbo.
M.Arch.
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King, Martha J. (Martha Juliette) Carleton University Dissertation Canadian Studies. "The National Gallery of Canada at arm's length from the government of Canada; a precarious balancing act." Ottawa, 1996.
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Staines, Adreene Sheree. "The growth of SMES in Jamaica : Constraints and obstacles to firm and national performance in small economies." Thesis, Lancaster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506230.
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Fasoli, Lyn, and n/a. "Young children in the art gallery : excursions as induction to a community of practice." University of Canberra. Communication & Education, 2002. http://erl.canberra.edu.au./public/adt-AUC20060710.095714.
Full textAbstract:
Learning in 'communities of practice' is a new way of describing and investigating how
people learn and has not been applied extensively in research in early childhood or in art
galleries. This thesis is a critical case study undertaken with preschool children as they
prepared for, participated in and followed up a series of excursions to the National Gallery of Australia. The study explores and analyses children's induction into the
practices of the art gallery and their negotiation of the meanings around these practices in
the gallery and in their preschool. Children's engagement in practices is analysed using a
sociocultural framework for learning called 'communities of practice' (Wenger, 1998) in
combination with a multilevel analysis of the artefacts of practice derived from the
philosophical writings of Wartofsky (1979). Multiple data sources included photographs
of children, their drawings, tape recordings of their incidental talk and group discussions,
and results of play activities as children participated in the practices of the art gallery and
the preschool. Data was also collected through semi-structured interviews with gallery
and preschool staff. In a study involving such young children, the use and juxtaposition
of these multiple sources of data was important because it allowed for the inclusion and
privileging of the material and non-verbal resources as well as verbal resources that
children used as they engaged in practices. Outcomes of this research have been used to
illuminate and problematise early childhood as a site for the intersection of multiple
communities of practice. Learning to make sense of experience is portrayed as more than
language-based 'scaffolding' and the representation of experience through child-centred
play activity. The study provides a detailed descriptive account of children's learning and
sees it as a fundamentally unpredictable and emergent process. It shows that relations of
power are always a part of learning and can be seen through an analysis of the resources
available to children, those they took up and were constrained by in the local situation
and those they brought from other communities of practice. In this process, the children,
as well as their teachers, were active negotiators. They participated in complying with
community-constituted views of knowledge as well as shaping, resisting and contesting
what counted as knowledge. This study makes a contribution to understanding children's
learning in early childhood as fundamentally social, unpredictable, productive and
transformative rather than individually constructed, stable, predetermined and
representational of experience.
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James, Pamela J. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.
Full textAbstract:
This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
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Heath, Elizabeth. "Sir George Scharf and the early National Portrait Gallery : reconstructing an intellectual and professional artistic world, 1857-1895." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/73230/.
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This thesis investigates the professional practice of the National Portrait Gallery's first Director Sir George Scharf (1820–95). It is the first focused analysis of his career and influence, within the nineteenth-century art and museum worlds. It attempts to position Scharf in relation to developments in art historical scholarship and the professionalization of museum practice, in the second half of the 1800s. Chapter 1 outlines Scharf's methodology for portraiture research and considers his scientific approach alongside the establishment of art history as a discipline during his lifetime. Whilst exploring Scharf's development of research standards to be carried forward by successors, it argues for his active role amongst a growing contingent of museum professionals. Chapter 2 reconstructs Scharf's social and professional networks, collating the names of individuals with whom he interacted and mapping the physical sites of engagement. It proposes that access to contacts proved vitally important to his official work and that Scharf himself functioned as an influential figure in this sphere. The third chapter concerns the nature of Scharf's relationships with members of the NPG's Board of Trustees. It investigates his early collaboration with two expert Trustees and charts his interactions with consecutive Chairmen of the Board, demonstrating Scharf's increasing authority with regards to Gallery procedures. Chapters 4 and 5 explore Scharf's interventions relative to the organization and interpretation of the collection across the NPG's early exhibition spaces. Chapter 4 argues that an increased capacity for display enabled Scharf to implement a rational hanging scheme, in line with the Gallery's instructive purpose and inspired by contemporary debates over the efficient presentation of public art. The final chapter documents Scharf's efforts to contextualize the national portraits, ranging from manipulating the exhibition environment, to expanding the NPG's catalogue according to a scholarly model. In its examination of George Scharf's career spanning five decades, particularly his engagement with discourse surrounding public art museums in the Victorian period, this thesis aims to make a significant contribution to the fields of museum studies and studies in the history of collecting and display.
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Becker, Natasha. "Inside and outside the family album: Making, exhibiting and archiving the photograph in the South African National Gallery and the National Library of South Africa." University of the Western Cape, 2018. http://hdl.handle.net/11394/6046.
Full textAbstract:
Magister Artium - MA (History)One of the first things that reached me about photography was how a photograph tells a story or stories. This experience is perhaps most common when viewing personal photographs. A few years ago I was looking through a vast number of personal photographs, of a family I knew well, and was struck by how all the photographs (in albums, framed or lying loosely about) were part of a particular family narrative. Even without the storytelling, which accompanied my viewing of the photographs, I could still 'read' bits and pieces of the family history (and the broader social, political and cultural histories) in their photographs.
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Kringas, Simon. "Design of the High Court of Australia." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18605.
Full textAbstract:
The High Court of Australia is a seminal work of architecture, recognised nationally after twenty-five years by the Royal Australian Institute of Architects 'Enduring Architecture' award, and internationally, as one of only ten Australian buildings registered on the Union of International Architects 'Architectural Heritage of the 20th Century'. Since its construction in 1980, the design of the High Court has been consistently ascribed to the architect Colin Madigan – a director of the firm Edwards Madigan Torzillo and Briggs. It is said to embody a 'unity of concept' with Madigan's National Gallery, and to accord with 'universal' principles, geometric 'design laws' and the 'craft-based attitude' of 'Madigan's architecture'. Such sustained references have effectively established a dominant and institutionally sanctioned narrative. A body of other acclaimed work produced by the firm is similarly construed as Madigan's oeuvre. In fact, the design of the High Court resulted from a national competition held between 1972 and 1973. Documented evidence credits its 'Design Team' and identifies architect Christopher Kringas as the 'Director in Charge'. The stated 'Design Concept' does not mention universal principles or geometric laws, nor does the High Court's architectonic design accord with such descriptors. Kringas's design role is further evident in the firm's most significant work. This thesis traces and critically reviews the prevailing narrative of the design of the High Court. Behind-the-scenes correspondence, original archives and oral histories expose machinations around its authorship and build a counter-narrative that re-contextualises the High Court according to Brutalist ideology, nation building agendas, individual agency and design experimentation, crystallised by an architectural competition. An alternate reading of the High Court design is developed, pointing to a radicalisation and shift of the Brutalist agenda, and salient innovations previously unexamined.
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Toomer, Richard. "National Sport Policy in a Developing Country: The Case of Jamaica’s Elite Sport Development in Selected Sports." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39253.
Full textAbstract:
The purpose of this thesis was to explore the development of elite sport through national sport policy within a developing country, Jamaica. Taking a qualitative approach, the thesis drew on the SPLISS framework (De Bosscher et al., 2006, 2015) to understand government influence in the development of elite sport, through policy, and to investigate other contributing factors for elite sporting success. A logic model illustrated the input-throughput-output pillars of the SPLISS framework, and aided in the interpretation of both a theoretical and rival proposition (Yin, 2018). This thesis purpose, accomplished in part by exploring the most successful elite sport in Jamaica,
athletics (track and field), incorporated three interconnected studies on that developing country’s national sport system, a sport system that produced its first Olympic success in 1948, forty-six years before the introduction of national sport policy.
Three interconnected studies allowed for findings that highlighted the roots of Jamaica’s sport development, beginning with the introduction of a school and community sport system by the former colonial British government, and retained and expanded by the Jamaican government from 1962. The findings also highlighted that the school and community sport systems facilitated a local approach to the development and training for athletics. It included factors outside of the influence
of government, such as the impact of coaches and role models that assisted in creating a fraternity in the sport through tradition, culture and passion, and established an environment for elite sport. This environment involved a collaboration between educational institutions and the professional local club system, and represents the critical elements in the success of athletics, indicating that the influence of government policies for sport development was not impacting international sporting success up to 2017.
The interconnected studies also provided support for gaps identified in the SPLISS
framework and the literature on elite sport policy. For SPLISS, the findings provided evidence in understanding what happens when input factors are processed (the ‘black box’) leading to outputs, and national outcomes. For the literature, the thesis found that an historical context is important in understanding the coalescing of micro-, macro-, and meso-level factors for elite sporting success.
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Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.
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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.
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James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2003."A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.
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Moruthane, Sepadi. "The digital classification of “unknown maker(s)” of cultural objects: A case study of Iziko South African National Gallery." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/32884.
Full textAbstract:
Throughout history, cultural institutions like the Iziko Museums of South Africa have preserved, catalogued, researched and displayed a diverse collection of cultural objects. The renewed interest in digital media has revived the move to reclaim cultural identities, bringing with it the associated challenges regarding the veracity of historical accounts. With the transition to digitisation, and the adoption of digital curatorship for knowledge production in museum environments, it has become necessary to examine the historical accuracy, reliability and trustworthiness of the digital information being provided. Digitisation is an important priority for most cultural institutions. This study contributes to the colonial debate about museum classification and the challenges that these institutions face regarding what is referred to as the “unknown maker”. The use of the term “unknown maker(s)” to denote creators of cultural objects housed in the Iziko South African National Art Gallery collections was crucial to this investigation into the digital cataloguing of objects whose creators could not be determined. The findings show that a national museum is a space where identities are contested, and that museum professionals are repeatedly faced with difficult curatorial and ethical decisions when it comes to classifying cultural objects. As a result, the problems encountered with the digitsation and cataloguing of cultural objects are extensive. Inaccurate classification processes, including the use of the term “unknown maker(s)”, affects how digital heritage objects are recorded, the servicesthat museums offer, how exhibitions are presented, the research that is undertaken, and the skills required to manage cultural objects.
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Minott, Egglestone Ruth Elizabeth. "Beanstalk to macca tree : the development of the national pantomine by the Little Theatre Movement of Jamaica, 1941-2003." Thesis, University of Hull, 2006. http://hydra.hull.ac.uk/resources/hull:14018.
Full textAbstract:
Greta Bourke and Henry Fowler, co-founders of the Little Theatre Movement of Jamaica, initiated the L TM Pantomime tradition in 1941 to raise funds for an experimental theatre, which would both house contemporary trends from Europe and America and carve out a creative space for the indigenous culture of an emergent New Jamaica. The LTM actively developed the Pantomime audience at the Ward Theatre to reflect a cross-section of society. Coachloads of adults and children from country districts joined the established middle-class theatregoers as well as representatives of the inner city 'people of the yard'. Gradually, the original English-pantomime style production metamorphosed into a different entity. Topical reference, proverbial wisdom, song, dance and vibrant colour were mixed and expressed in language, which zigzagged along the continuum between Jamaican Standard English and Patwa. Over six decades, Jamaican Pantomime has created a prestigious performative space for the retelling of many episodes from the life story of an old island. Intrinsic to this context is a system of shared beliefs which operates on a number of levels: the value of received wisdom, the redemptive nature of Christian faith, Anancyism as a strategy of survival, and national aspirations for unity based on the principle of mutual respect. The Little Theatre complex, which opened in 1961, housed the national schools of drama and dance before they became part of an integrated Visual and Performing Arts College for the island. Furthermore, a catalogue of the thousands of people who have been involved in LTM productions over six decades reads as a Who's Who of Jamaican cultural development in the twentieth century. Instead of merely mimicking the English model. the L TM Pantomime evolved into a distinct form of indigenous theatre and rekindled the folk tradition as an expression of national identity within the context of contemporary popular culture.
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Sinclair, Nicola. "Nineteenth-century British perspectives on early German paintings : the case of the Krüger collection at the National Gallery and beyond." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/13471/.
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This study examines the British reception of early German painting in the nineteenth century through the case study of the Krüger acquisition for the National Gallery in 1854. It provides new information about why this collection of predominantly religious fifteenth- and sixteenth-century paintings from Cologne and Westphalia was acquired and how it was evaluated, displayed and distributed in British public and private collections, against a backdrop of midcentury developments in British public displays of art, art-historical literature, private collecting and the art market. In light of long-held perceptions that the acquisition was a mistake and that the paintings were inferior to early works from Italy and the Netherlands, this study offers an alternative perspective that it was an enterprising attempt to implement new models of historical display in national collections, and to rationalise how supposedly inferior paintings could have value in public and private collections. By looking at the way these rediscovered German paintings were evaluated, this study advances understanding of how Romantic, scholarly and formal models for reexamining early paintings overlapped, conflicted and changed in the nineteenth century. The Krüger acquisition and distribution successfully established a place for early German painting in the core collections of the National Galleries in London, Dublin and Edinburgh at early stages in their development, but it did little to redress established prejudice against the school in Britain. Decisions taken about how these pictures were presented to the public shed new light on the significance of key individuals for shaping long-term perceptions of early German paintings in Britain. Beyond the question of German art, those decisions reveal how practical and tactical considerations could be just as important as art-historical ones in choosing what belonged in a national collection of paintings.
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Greer, Elena J. "Sir Frederic William Burton and the Rosebery Minute : the directorship of the National Gallery, London, in the late nineteenth century." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/48057/.
Full textAbstract:
This thesis examines for the first time the role of Sir Frederic William Burton (1816-1900) as director of the National Gallery, London, during the period 1874 to 1894. I argue that his directorship is important because it was followed by the second major administrative re-organisation in the Gallery’s history, namely the Rosebery Minute of 1894, which significantly reduced the authority of the director in making acquisitions. This power had been bestowed upon the director in 1855 after an in-depth parliamentary Select Committee examining the running of the Gallery, which had established the post for the first time. My thesis seeks to determine to what extent and how Burton’s tenure prompted this major reassessment of the Gallery’s management structure. The enquiry addresses the question from a variety of perspectives including Burton’s acquisitions, the display of the collection, his attitude to the social function of the Gallery and the relationship of the Gallery authorities with government departments and individuals. These topics are informed by a methodological approach that takes as its starting point the large volume of archival material and correspondence both at the National Gallery and in other gallery archives and libraries relating mainly to Burton and his trustees, chiefly Sir Austen Henry Layard and Sir William Gregory. Using these sources my thesis examines the background, interests, motivations and personal relationships of key individuals, assessing the impact of personal biography upon institutional history. The thesis also sets these case studies within the broader cultural context of the development of the discipline of the history of art and the challenges this posed to the identity of the Gallery. The final chapter reassesses the Rosebery Minute of 1894 in the light of this research, highlighting the importance of both a detailed ‘micro-historical’ approach and a broad contextualisation of developments at the National Gallery at the turn of the twentieth century.