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Dissertations / Theses on the topic 'Psychoanalysis and art Case studies'

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Published: 10 December 2022

Last updated: 29 January 2023

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1

Polzin, Sunael. "Sartre's existential psychoanalysis : theory, method and case studies." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/58492/.

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This work present the salient features of existential psychoanalysis across a chronological selection of Sartre's works. It looks at the background in psychology and phenomenology which informed Sartre's concept and presents key aspects of the theory itself, in comparison with Freudian psychoanalysis. A study of Sartre's three existential biographies, on Baudelaire, Genet and Flaubert, shows how the theory and its progressive-regressive method are applied to concrete cases, while also tracing the evolution of Sartre's approach up to his late writings on the topic. The final assessment concerns the possibility of using Sartre's theory as a basis for existential psychotherapy. Sartre's account is shown to provide a consistent framework for analysing individuals in existential terms and through which to understand subjectivity.

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2

Sansom, Gareth D. "Judging Schreber : psychoanalysis and psychosis." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65981.

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3

Chmielewski, Matthew D. "Successful Corporate Art Collections: Two Case Studies." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1270923865.

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4

Vice, President Research Office of the. "Art of Darkness." Office of the Vice President Research, The University of British Columbia, 2006. http://hdl.handle.net/2429/2666.

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5

Bisulca, Christina. "Case Studies in Conservation Science." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/332904.

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The research presented in this dissertation covers three separate topics of conservation as defined by the National Science Foundation: 1) Materials Stabilization, Strengthening, Monitoring, and Repair; 2. Understanding Material Degradation and Aging; and 3) Materials and Structural Characterization of Cultural Heritage Objects (the `technical study'). The first topic is addressed through a study to assess the consolidant tetraethoxysilane for the stabilization of alum treated wood. Falling under materials degradation studies is a study published in American Museum Novitates to understand how environmental conditions affect the aging of fossil resins from five different deposits. Two separate studies are included in technical study of cultural heritage objects which comprises the third research area of materials characterization. The first is a survey of red dyes used in Chinese paintings from the Ming Dynasty to the Early Republic (1364-1911). The second is a study of the pigments, dyes and binders used in Hawaiian barkcloth (kapa) from the 19th century.

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6

Tollefson-Hall, Karin Lee. "Alternativeness in art education case studies of art instruction in three non-traditional schools /." Diss., This edition also available online via University of Iowa:, 2009. http://ir.uiowa.edu/etd/322.

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7

Noonan-Ganley, Joseph. "The contagion of desire : two case studies of appropriation art." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:d86430f7-41dd-4b85-b094-2e256b899d9c.

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My doctoral thesis is comprised of two bodies of research: two artworks taking the form of installations (videos, audio recordings, textiles, texts), which will be exhibited for viva. Femme Fabrications, 2016, is made from research into the American artist Joseph Cornell's (1903-1972) source materials held in the Smithsonian American Art Museum alongside research on Jean Wilkinson's 1977 book Flower Fabrications. A series of textile works encased in silk lined boxes trace my step-by-step construction of a rose from organdie. The floral emblem of the white rose (dried), 'death is preferable to a loss of innocence' , becomes an editing device, which I use to consider a number of possible recipients for the rose, such as Cornell himself. Spoken word audio recordings, which ruminate on how his sexuality pertain to the criteria of the rose are edited together with home-camcorder video footage of the house that Cornell lived in for most of his life - the house he made the entirety of his artworks within. Central to The Cesspool of Rapture, 2017, are moving-image studies of zippers, stains, rips, abrasions, openings, and closings in a series of dresses made by the American couturier Charles James (1906-1978). These videos register and move through the material research, the garments, at alternating speeds. The changing speed is registered in sound by clicks synced to each individual frame. It is at times violent and at other times tentative and gentle as the uncovering of the damage to the dresses unfolds. Audio recordings of James explicating his interests in eroticism and sexuality persistently interject the footage. This work includes the installation of a series of reconstructions of James's 1932 Taxi dress. Its black linen body is reconfigured and abstracted as the splayed design makes unfinished seams and unzipped zippers visible. In each artwork I configure viewing and consuming as a mode of authorship. I show how these diverse processes of identification become authored acts. When drawn into intimate relation with the leftover material of these historical authors, my contamination proves deviant: I gain possession of the capacity to speak for them, to expose, idolise, misrepresent, and fictionalise them. My thesis is composed of this group of methodologies, which were found and developed within the production of the artworks.

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8

Tan, Ceyda Basak. "Educational Function Of Art Museums: Two Case Studies From Turkey." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608742/index.pdf.

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This thesis analyzes the educational function of art museums, how education in art museums evolved and how an art museum can conduct an educational mission. The concept of the material collections as the educative origin of art museums will be discussed alongside the history of collections in Europe. In addition to the concept of collection, the importance of educational programmes of art museums will be highlighted. Having derived a general notion of the educational function of art museums, the thesis will seek to answer questions such as how museology evolved in Turkey and whether the turkish museology has an educational concern. In accordance with these questions two turkish contemporary art museums will be investigated as case studies.

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9

Lu, Pei-Yi. "Off-site art curating : case studies in Taiwan (1987-2007)." Thesis, Birkbeck (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.645199.

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The aim of this thesis is to develop a concept of 'off-site art' as a distinct mode of art production, and further argues that a specific approach to curating. 'off-site art curating', is required in order to realize the potential of this art form. Off-site art refers to works in temporary exhibitions which are held away from the gallery space and which create their own time-space on site, usually being 'site-specific' and 'context-sensitive'. Taking place in the real living environment, off-site art, on the one hand, is liberated from the limitations imposed by an institution, while on the other hand it naturally encounters difficulties being sited in a broader social, economic and political arena; in this sense, off-site art could be considered in part to be a reflection of spatial-political circumstances and problems encountered on site. Three questions will be discussed: what is off-site art and why it is significant? What is the relationship between artworks, environmental context and viewers in off-site art exhibitions? and what is the role of the curator and how might the curating of off-site art work? The research is based on an interdisciplinary approach, and a number of off-site art exhibitions held in Taiwan during the period 1987 to 2007 will be taken as case studies in order to examine four primary aspects: off-site art curating and politics; off-site art curating and business; off-site art curating and urban regeneration; off-site art curating and the community. I argue that the value of off-site art lies in the fact that art should not be confined to a gallery; instead, art manifests its power in everyday life. The task of off-site art curating is to create a support system that mediates between the diverse forces in operation in order to ensure that art is valued as art itself rather than merely playing a subsidiary role serving political, economic or any other purposes.

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10

Al-Sadoun, Mohammed. "A contextual analysis of contemporary Iraqi art using six case studies /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488187763846153.

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11

Grosch, Anna. "Enacting place| A comparative case study." Thesis, The University of Wisconsin - Milwaukee, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1598734.

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As a community-based art educator, I advocate for an arts-based educational environment that embraces postmodern tenets and encourages individuals to reflect on self and society in relation to the places in which they dwell and learn. This thesis is a dialogue on emplaced community-based art education. Issues of urban education, social justice, and critical pedagogy are considered in relation to participants’ enactments of place within two distinct community-based educational settings. In order to investigate the connections between a culture of place, place-based education, and the community-based programs of each site, the role of art and artifacts was carefully considered in building a sense of place and placemaking within the comparison of each case study. Data was collected over the course of a year and later analyzed through the lens of narrative analysis-a focus on how people spoke to personal values and social beliefs associated with their enactment of place-based education.

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12

Joshi, Sheela Madhukar. "Transitional objects in adult treatment : case studies : a project based upon an independent investigation /." View online, 2008. http://hdl.handle.net/10090/5902.

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13

Poelstra, Susan Christine 1962. "The dilemma of the at-risk student: Selected case studies of art educators." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/292042.

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Virtually every school in America is being forced to cope with problems related to at-risk students. These students are those who are at risk of failing both in and out of school. Three experienced art educators who are employed by a single school district, one at the elementary level, one at middle level, and one at the high school level. Each are attempting to deal with at-risk students within their individual art classrooms. The inclusion of at-risk students affects the learning environment of the classroom and the effectiveness of the educator. With the growing concern regarding this special population it is hoped that by studying the methods incorporated by art educators who have long dealt with this dilemma, this research will help other educators learn to more effectively deal with this growing problem and improve the success of those students labeled at-risk.

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14

Hawkins, Matthew Lane 1974, and Christian Eyre 1975 Foulger. "Quantifying the art of retail site selection : a retail case study." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/29893.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2001.
Includes bibliographical references (leaves 88-89).
Although there have been great strides in attempting to identify the locations that will yield the highest sales, the opinion among retailers remains that once the demographic, market, and sub-market analysis is complete, the choice of where to open a store within a sub-market is a matter of "feeling". Science can help a retailer pinpoint an optimal intersection that will enable it to place its goods and/or services in front of the largest number of potential customers, but it is the "art" of site selection that will enable a retailer to choose the best of the available locations surrounding the targeted intersection. There are invariably a number of appropriate alternative sites within a qualified trade area. Choosing the best location among these alternative sites is subjective. This "feeling" or "art" of selecting the relatively better location is something that is usually refined through years of developing the intuition for what will work the best. The purpose of this paper is to look at and then quantify the real estate variables that affect the relative attractiveness of available locations that exist within a delineated trade area. This is in an attempt to replace the subjectivity or "art" of selecting the best location with that of quantifiable results that prove that one site will result in higher sales than that of another. The results of the analysis show that the independent variables fail to predict sales per square foot with a requisite statistical significance. While the data failed to prove the hypothesis that the "art" of selecting retail locations can be replaced with quantitative analysis, the authors believe that with a larger sample size real estate factors can provide valuable insight into sales per square foot forecasts.
by Matthew Lane Hawkins and Christian Eyre Foulger.
S.M.

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15

Southgate, Colin Scott. "Lives in the informal art trade : an ethnographic case study of Maputo, Mozambique." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8113.

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Includes bibliographical references (leaves 121-123).
This minor dissertation investigates the lives and businesses of informal artists and vendors in Maputo, Mozambique. The research points to a swell in numbers of artisans in Maputo over the past dozen years. Tourism has developed in Mozambique; expanding the clientele for Maputo's informal artisans. The increase of artisans has had a few negative effects including a drop in prices due to competition and a compromise in artistic quality. The seven interviewees explain the reality of the informal art business as one of subsistence.

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16

Abowd, Gabriele Therese. "Making room for art case studies of midwestern women artists and their studios /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3324529.

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Thesis (Ph.D.)--Indiana University, School of Education, 2008.
Title from home page (viewed on May 12, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2990. Adviser: Lara Lackey.

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17

Li, Tam Soi-cheng Mary, and 譚瑞菁. "A case study of expert art teachers in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B38626858.

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18

Sklar, Susan. "The Massachusetts College of Art disposition case : evaluating state and community roles." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/77330.

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19

Conway, Chelsea. "Participatory Activities and the Art Museum: A Case Study of the Columbus Museum of Art." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493982670620671.

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20

Chawaga, Mary. "The Cube^3: Three Case Studies of Contemporary Art vs. the White Cube." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1066.

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Museums are culturally constructed as places dedicated to tastemaking, preservation, historical record, and curation. Yet the contemporary isn’t yet absorbed by history, so as museums incorporate contemporary art these commonly accepted functions are disrupted. Through case studies, this thesis examines the successes and failures of three New York museums (MoMA, Dia:Beacon and New Museum) as they grapple with the challenging, perhaps irresolvable, tension between the contemporary and the very idea of the museum.

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21

Decker, Jillian. "The Restitution of World War II-Era Looted Art: Case Studies in Transitional Justice for American Museum Professionals." Walsh University Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=walshhonors155561854704584.

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22

Guarda, Chiara. "The aesthetic appreciation of art philosophical reconsiderations of the relationship between art and beauty : supported by case studies /." [S.l.] : [s.n.], 2005. http://www.zb.unibe.ch/download/eldiss/05guarda_c.pdf.

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23

Gyekis, Elody Eberly Rosa A. "Community murals as processes of collaborative engagement case studies in urban and rural Pennsylvania /." [University Park, Pa.] : Pennsylvania State University, 2009. http://honors.libraries.psu.edu/theses/approved/WorldWideIndex/EHT-15/index.html.

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24

Tamboer, Kimberly Jean. "Artistic Achievements of Convent Women in Renaissance Italy: with case studies in Venice and Prato." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/327335.

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Art History
M.A.
This thesis evaluates the artistic contributions of convent women in Renaissance Italy during the period c. 1450-1550 with individual case studies in Venice and Prato. As the cost of the traditional marriage dowry inflated markedly over the course of the fifteenth century, an increasing number of girls from affluent family backgrounds were sent to the convent in an effort to spare their families the financial burden of marrying them off. Convent vocations were not only financially convenient for families with daughters but offered a socially respectable alternative to marriage that many came to rely upon over the course of the latter fifteenth and sixteenth centuries. The heightened presence of highborn girls in Italian convents seems to correspond with a concurrent development in female monastic artistic production. This point will be demonstrated in my study through analysis of two objects: the illustrated convent chronicle of Santa Maria delle Vergini (c. 1523), now in the Museo Correr in Venice and the illustrated frontispiece of Beatrice del Sera's convent play Amor di virtù (1555), preserved in the Biblioteca Riccardiana in Florence. Both of the considered works complement a text also written by convent women during the same period that demonstrate their knowledge of historic and current events, in addition to contemporaneous developments in the visual arts. The corresponding texts will be examined in a supporting manner to aid in interpreting the subject matter of the illustrations. Subsequent to identifying the pictorial content of these illustrations, I will elucidate how the convent artists successfully assert a female identity through their respective visual representations, and determine what specific type of identity they were motivated to promote.
Temple University--Theses

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25

Franzidis, Eva. "Hidden treasures in Ivory Towers : the potential of university art collections in South Africa, with a case study of UCT." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8200.

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Includes bibliographical references (leaves 117-123).
This dissertation takes as its central theme the context of a university as a setting for artworks. While globally many university art collections enjoy prominent status in their communities, and are well endowed and visited, their South African counterparts are sorely underused and valued. Thus, the aim of the study is twofold; in the first instance, an argument is made for the positive and productive role South African university art collections can play within their society - and primary research reveals the rich and varied collections held throughout the country. The second focus is on one particular case study: the University of Cape Town (UCT) art collection, and the acquisition body that oversees it, the Works of Art Committee (WOAC). Through a detailed analysis of this committee's thirty-year archive, and informed by the experience of an extensive internship with the WOAC, the study provides an overview of their operation, assessing their successes and failures. What is revealed is that there are numerous problems inherent within the way in which this committee is run, and the management of the art collection in general. Aside from compositional issues within the committee itself, the fact that there is no educational integration between the collection and the university community, is highly problematic. As such, numerous suggestions are offered, with the hope that the collection can become a more meaningful presence to those on campus, and beyond. For, with a far healthier acquisition budget than the South African National Gallery, and access to a large and diverse audience, it seems as though a highly exciting opportunity is being overlooked.

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Batorowicz, Beata Agnieszka, and n/a. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship." Griffith University. Queensland College of Art, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040319.090547.

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The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art historys patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.

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Van, Eck Steve. "Neighborhood Economic Impacts of Contemporary Art Centers." PDXScholar, 2018. https://pdxscholar.library.pdx.edu/open_access_etds/4435.

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Do investments in Contemporary Art Centers spur investment and economic development in the surrounding community? And if so, what factors are associated with these developments' outcomes? To assess these questions, a general overview of the dominant arts-and-economic-policy perspectives were considered, and two cases of contemporary art center developments, one in St. Louis and one in Cincinnati, were compared and treated as hypothetical value-capture investments. Sale prices of properties surrounding each investment property were adjusted to reflect market factors, then compared to values before and after an investment property opened to the public. A review of supplemental documents and interviews with the developments' directors were used to determine factors that contributed to the effects observed in the study. Findings indicated that the adjusted value of properties in Cincinnati declined with distance from the site of development in the post-test period, and not in the pre-test period. Hedonic results for properties in St. Louis were not significant. However, the museum's development was one among other factors that signified to investors that the area was ready for restoration. Interviews and document review indicated that community participation in the development planning process, distinctive architecture, and commercial contexts were associated with developments meeting their stated goals.

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28

Hollis, Alan D. "Implementing Best Practices of Museum Exhibition Planning: Case Studies from the Denver, Colorado Art Museum Community." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279314066.

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Masters, Carin-Lee. "Clay sculpture within an object relational therapy: a phenomenological-hermeneutic case study." Thesis, Rhodes University, 2005. http://hdl.handle.net/10962/d1002524.

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The overall aim of this thesis is to explore the process of working with the Edwards claywork method with a psychotherapy client who had significant relational difficulties and feared being exposed as defective. Within this there are particular aims: Firstly, to investigate whether the distancing that art therapy can create, can help the client with relational difficulties to tolerate unexpressed disavowed feelings, in particular her sense of shame about being exposed as defective; and secondly, to examine whether material evoked through the claywork process can assist in furthering the psychological formulation of this kind of client. The research was a phenomenological-hermeneutic case study of a psychotherapy client, called Kim. Kim’s experience of therapy, including two claywork sessions, was documented. This comprises a thematic narrative of her therapy process prior to the claywork process, as well as a thematic narrative focusing on the two claywork sessions. Her clay sculpture was photographed and alphabetically labeled according to the chronological order in which she made the eight pieces comprising her sculpture. A hermeneutic reading of the narratives was conducted using theoretical perspectives including object relations, Adlerian psychology and art therapy. It was concluded that, firstly, the distancing that art therapy can create does help the client, who is afraid of being exposed as defective, to tolerate previously disavowed and unexpressed feelings; and secondly, art therapy such as the Edwards claywork method, does deepen psychological formulation of the client’s affective and relational difficulties. However, although the image may graphically symbolize unconscious aspects of a client’s psyche, the present study illustrates that a client may not always be able to enter into a relationship with the image or dialogue between conscious and unconscious states. In this respect, the present study focuses on aspects of art therapy of which there is limited literature.

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Baniotopolou, Evdoxia. "Century city : art and culture in the modern metropolis : a case-study of institutional curating of contemporary art in an urban context." Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/5370/.

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My thesis is an interpretive case study of the exhibition Century City: Art and Culture in the Modern Metropolis (Tate Modern, 1 February – 29 April 2001). It examines a variety of issues pertaining to the making of institutional modern and contemporary art exhibitions in a Western urban context today. It is concerned with exhibition studies’ methodology, the reciprocity between the art institution and the city, and the relationship between the art institution and the independent curator. With regards to methodology, I propose various readings of an exhibition that fall under two types of knowledge, namely visible and invisible knowledge. The former refers to all aspects of the exhibition that are seen in the public domain, while the latter considers not immediately accessible information about the exhibition, such as archival material and oral history. I also examine the mutual relationship between the city and the institution through the instrumentalization of the exhibition by city politics, and the correlative micro and macro effects. I thus link the exhibition to a passage from an industrial to a post-industrial economy, New Labour politics and the competition of cities in a worldwide urban network. Within that framework I analyse associated issues, such as London’s urban regeneration and cultural tourism, city branding, changing city demographics, the link between the institution, the city and governmental agendas, and the ‘world city’ race. Finally, I question the changing relationship between the art institution and the independent curator. I reflect on the advantages and limitations of curatorial practice in the context of that relationship by considering the exhibition as a platform for the concurrent expression of both personal and collective curatorial interests, and the exploration of canonical versus contemporary approaches. I conclude that an in-depth study of a contemporary exhibition on these grounds allows for important insights to be gained that contribute to the fields of curatorial and exhibition studies, as well as to urban theory.

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Soltys, Hannah, and Hannah Soltys. "Archiving Experience: A Case Study of the Ephemeral Artworks and Archives of Allan Kaprow, Eva Hesse, and Richard Tuttle." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626142.

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In this thesis, I will examine the difficulties of documenting ephemeral art and the possible solutions that archivists, curators, artists and other museum professions have come up with. I will begin by presenting a background of the history of performance art, which was the impetus for all ephemeral art to come. Then I will present case studies of three artists: Allan Kaprow, Eva Hesse, and Richard Tuttle, and their archival processes, all of which provide very different approaches to similar artistic problems. Finally, I will discuss the implications of re-performance and re-creation of ephemeral artworks.

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Hong, Yan. "The space, sociality and art worlds of creative clusters : two case studies in Shanghai." Thesis, University of Leeds, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590421.

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The notion of creative cluster has been imported to China and endorsed in the official cultural policies in the recent years. Despite the overwhelming practice of creative clusters designation in China, especially capital cities, relatively little has been known about how it works in China and in what ways it produces creativity. Based on a comparative study of two creative clusters in Shanghai, Tianzifang and M50, using Henry Lefebvre's theoretical framework on the production of space as the main thread, complimented by other theories including Pierre Bourdieu on capital, habitus and field, and Becker on art worlds, this thesis investigated the production process of creative clusters in China context, the various management models of creative clusters and their effects on the creativity production, and the reasons for different performance of creativity in the two clusters. This thesis suggested that the production of creative clusters in China not only involving the production of physical space, but also the mental and social space. Creative clusters in China were acted on by policy, represented the party ideology and became the representation of political performance of local authority. Meanwhile, new social space for artists has been formed in the clusters. Concerning the various strategies of production, each cluster presented a different performance on delivering perceived creativity. TZF has adopted a government dominated model, and has developed tourism as well. This has been successful in fostering commercial environment by allowing the cultural and commercial functions to co-exist easily, but also has led to the capitalization of space and there seemed to be less evidence of creativity. M50 has to date been commercially managed with an enterprise model. It has been successful in cultivating the creative milieu through managing the ratio of different creative organizations in the cluster and has shown more ability in producing creativity.

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Chronaki, Anna. "Case studies in the teaching of mathematics through the use of art-based activities." Thesis, University of Bath, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337799.

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Beke, Lili. "ARTISTIC IDENTITIES IN DIFFERENT CULTURAL CONTEXTS : Case studies from Hungary and Norway." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-352762.

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The following master’s thesis considers as its main objective to prove that corresponding socio- cultural processes manifest themselves differently in Hungarian and Norwegian artistic spheres respectively. This is a cross-cultural case study analysis, focusing specifically on a selection of sociological factors that might affect the identities of artists differently depending on social background and cultural heritage. Seeing as this is a qualitative investigation, an exploration of the working conditions and individual development of six Hungarian and six Norwegian artists assist the study. The thesis examines the cultural environments into which the assembled artists of the research are socialized, in order to map their varying artistic practices, careers and even personal lives. The comparative approach of the case studies is situated within the framework of art sociological and cultural political theories. Findings and implications of the study are likely to yield results that show not only generational differences and contrasting progression within the two cultural contexts separately, but will also expose similarities and dissimilarities in the cultural dynamics governing the two art worlds in question.

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Holtzhausen, Minnon. "Psychiatric in-patients’ experiences of an art group : with a focus on the self." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013146.

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Aims: It is argued that one’s sense of self is threatened and eroded by mental illness. According to the narrative perspective, one’s personal life narrative is displaced and maintained by a story of illness. However, dialogical self theorists argue that mental illness limits the number of ‘I’ positions available within an individual, resulting in the positions/voices becoming rigid and being dominated by a singular, monological position. The aims of this qualitative study are to attempt to understand and examine psychiatric inpatients’ personal lived experiences of an art group. The goal of the study is to focus on the impact of the art-making process on these patients with regards to the construction of their sense of self. Design: A qualitative research design was used in the study. Method: Four psychiatric in-patient art group members – three male and one female, between the ages of 27 and 40 – were interviewed. A semi-structured interview schedule consisting of sixteen questions focusing on the interviewees’ experiences of the art group was used. The interviews were analysed using an interpretive phenomenological analysis. Results: Three superordinate themes emerged: What the Participants Gained From the Art Group, Sense of Community and Leaving a Mark, and The Experience of Self in the Art group. All three Superordinate themes fall within the participants’ experience of the art group. Conclusion: All four of the participants expressed positive feelings and enjoyment towards the art group. Participation in the art group provided the participants with a sense of pride, achievement and hope within their lives. As a result of participation on the art group, one of the four participants was able to construct a thin alternative experience and sense of self.

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Finbow, Acatia. "The value of performance documentation in the contemporary art museum : a case study of Tate." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/32561.

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Performance and documentation have a complex historical relationship, based around perceived binaries of ephemerality and endurance, liveness and fixedness, originality and representation. This thesis explores this relationship and the ontological perspectives which underpin it, but moves beyond this by building on those contemporary theories which consider the potential of the performance documentation in relation to the performance moment, and the expanded, continuing performance artwork. Using the example of Tate as a contemporary art museum which has a history of creating and collecting performance documentation, this research engages the lens of value as an analytic tool through which to understand the positions and purposes of performance documentation in the contemporary art museum. Rather than attempting to measure the amount of value a performance document is perceived to have in economic terms, the intention here is to understand the nuanced types of value those within the museum apply to the performance document, based on an understanding of valuations as subjective, context-dependent, pluralistic and changeable. This thesis will explore both the museum’s creation of performance documents, tracing the variety of practices across Tate’s numerous departments, and how those within the museum approach acquiring, conserving, and displaying existing performance documents. Six case studies will be used to explore how different models of temporality, materiality, and authorship impact on the actions individuals and departments within Tate have taken around the creation, collection, and use of performance documents, and will explore what these indicate about the multiple, changeable types of value a performance document is perceived to have. The thesis will end by proposing how these findings around value and valuation can feed back into strategies and practices which are being developed at Tate to provide centralised, reflexive, mobile and easily accessible documentation of those live art works in the museum collection.

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Sweat, Ashley Dawn. "What is the Nature of the Professional Practice of Artist-Teachers? Four Case Studies." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/3.

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Many artist-teachers struggle to nurture and pursue their ambitions in their dual roles. The purpose of this research is to explore the nature of the professional practices of artist-teachers. While there is a substantial amount of research that provides models of artist-teachers, who teach at the post secondary levels, there are not many models for artist-teachers who teach primary and secondary age groups. Four artist-teachers, whose practices are currently contributing to the art world, as well as the educational world, were interviewed for a multiple case study. The roles represented in the study include painters, sculptors, a ceramist, a musician, a performance artist, art teachers, a music teacher, and a performance-art educator. This multiple case study provides four models of artist-teachers whose professional practices contribute to their identity and fulfillment in their dual roles. The study reveals the artist-teacher’s practice as an artist, practice as a teacher and relationship between the dual roles.

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Washell, Cathryn F. "The Handweavers of Modern-Day Southern Appalachia: An Ethnographic Case Study." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3174.

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One of the most prominent traditions associated with the Southern Appalachians is the art of weaving. Extensive research has focused on the history of Appalachian weaving, but there is little on the current weaving community. Today, the region still serves as an axis for weaving, and many practicing weavers, weaving instructors, and learning institutions can be found in Southern Appalachia. The core of this study is the interviews with ten weavers that reside and practice their work in Appalachia. Using concept coding, the transcripts of the interviews led to the development of four major themes that highlight the weavers’ discovery of their weaving passion, what continues to be a source of motivation for weaving, how today’s weavers use weaving as a source of income, and how weaving continues to be deeply connected to Southern Appalachia’s art and craft making traditions.

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Tuomaala, Outi. "INTERNATIONALIZATION OF CONTEMPORARY ART : Case studies of three Finnish artists who have exhibited in Sweden." Thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104625.

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This thesis examines the internationalization of Finnish contemporary artists. The focus is on their exhibitions at contemporary art institutions in Sweden, covering the period 2004–2013. The aim is to investigate what makes these exhibitions to materialize. The main question is: How do different actors, networks, collaborations, and the field of artistic production look like when art is exported for exhibition purposes from Finland to Sweden? Pierre Bourdieu’s field theory and the Uppsala internationalization process model are used as the theoretical framework. Information is collected via interviews with three Finnish artists and three Swedish curators. The main result is that the artists do not actively impact the internationalization process themselves. Rather, the internationalization occurs through an international network of professionals, some acting on behalf of the artists, and some acting in their own interests. The main driving factor for internationalization is that the Finnish art market is small. Consequently, young contemporary artists are oriented internationally. For internationalization to occur, the artists must be available to foreign curators through the international networks. Finland is aware of this and promotes international art contacts through the foundation Frame Visual Art Finland. Important contact surfaces, where curators can learn about the artists, are art events, like European art biennials.

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Drugan, Emmett Ryan Alastair. "A Case Study of a Socially Transformative Lesson in the Art Classroom." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1406125005.

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Whiteland, Susan. "Examination of learning relationships between intergenerational students in an after school art program." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9820/.

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Learning relationships between intergenerational students in an after school art program provided mutual benefits for participants in Denton, Texas. This qualitative case study of older, active adults and elementary students involved in visual art experiences gives insight to a contextual learning environment that fosters lifelong learning and addresses the interpersonal issues of an aging society.

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Gaeta, Anne Elizabeth. "The Quaker Influence on Nantucket Architecture: A Case Study." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625572.

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Hampson, Jamie. "Rock art regionalism and identity : case studies from Trans-Pecos Texas and Mpumalanga Province, South Africa." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/244969.

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This work addresses two key issues in current rock art research, the first theoretical, the second exemplary. Researchers often write of rock art regions without according the concept sufficient theoretical consideration. I argue that rock art regions are more usefully defined by the presence and absence of ethnographically informed motifs than by aesthetics. I support my argument by reference to two understudied rock art regions: the Texas Trans-Pecos, USA, and Mpumalanga Province, South Africa. The parallels between the two regions are enlightening: both are cultural ‘crossroads’ with complex histories of migrations, group interactions, and colonial settlements. Both provide archaeological evidence of hunter-gatherer, herder, and farming peoples. Moreover, both regions are adjacent to other, better-known rock art corpuses that have been explicated using ethnographic analogy and other anthropological approaches. Using these heuristic tools, I explain some of the motivations and meanings behind the production and consumption of rock art in the Trans-Pecos and Mpumalanga. I argue that the most effective method for understanding the significance of the motifs – many of which are also found in the neighbouring regions – is to focus on ritualism, embodiment, and shamanistic belief in supernatural potency and a tiered cosmos. In Mpumalanga, I concentrate on images in 49 hunter-gatherer San (Bushman) rock art sites in and around Kruger National Park. In Texas, I investigate interactions between indigenous hunter-gatherer groups and colonizers from Europe, from Mesoamerica, and from the Plains to the north; I focus on 44 rock art sites as manifestations of indigenous ideologies. Because rock art sites are implicated in cultural identity formation, I argue that lack of theoretically informed presentation perpetuates misleading stereotypes of rock art and the indigenous people who made it. I conclude by demonstrating that presentation of rock art can and does change people’s attitudes towards the past.

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Benedetti, Cristina A. "Case Studies in Volunteer Management: Approaches from Three Ohio Arts Organizations." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386000586.

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SHENG, Hung. "The art of Irene Chou (Zhou Luyun, 1924-2011) : a case study of ink painting." Digital Commons @ Lingnan University, 2013. https://commons.ln.edu.hk/vs_etd/4.

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Ink Painting was first initiated by Lui Shou Kwan (1919 - 1975) in the 1960s and it had a significant and remarkable influence on Hong Kong painters. It aimed to revitalize Chinese painting as a reaction largely triggered by the dominant trend of imitative practice of the Lingnan School in Hong Kong at the time. Lui stressed the importance of gen (根 root) and shi (適 adaption) and signaled many possibilities of ink painting as a new category. Gradually, a group of artists pursuing the same goal gathered and made the Ink Painting Movement possible. Irene Chou was one of the prominent and dedicated artists involved in the Ink Painting Movement. She demonstrated a lifelong exploration of art and the expression of her inner self to art. This study attempts to analyze how Chou’s art manifested the core values and concepts of Ink Painting. Born in Shanghai, Chou moved to Hong Kong in 1949. She did not commence painting until her mid-thirties when she studied with the second generation of the Lingnan School master Zhao Shaoang (1905 - 1998). Her artistic career began with imitation. However, after she met and was inspired by Lui in the mid 1960s she soon realized art was about self expression. Her art evolved from representation to abstraction and eventually developed into her own style which is very distinct from other Ink painters. After her stroke in 1991, she immigrated to Australia. Despite the unfamiliar environment and poor health, Chou did not surrender herself to these physical challenges. In contrast, her spirit elevated and she continued the exploration of self through her creations. By using Chou as a case study, the research aims not only a scrutiny of Chou’s artistic pursuits and innovation, but also a juxtaposition of her pursuits among a few link painters of her time in order to have a better understanding of some crucial and complex concepts of Ink Painting.

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Zwegat, Zoe E. "Diversity, Inclusion, and the Visitor-Centered Art Museum: A Case Study of the Columbus Museum of Art." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1562442682063359.

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Treanor, Virginia 1939. "CREATIVE ART THERAPY WITH INCARCERATED JUVENILES: A DESCRIPTIVE STUDY." Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/291290.

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Ney, Jason B. "Transculturalism in Emile Galle's art nouveau Ecole De Nancy and contemporary landscape architecture." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1191714.

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This study looks at the degree to which Emile Galle's theories of symbolic ornamentation are observed in contemporary landscape architecture design. Galle's theories consist of three components: the first relates to the functional aspects of design, and the last two relate to the aesthetic aspects. These three components are used to evaluate three case studies. In the case studies, Bicentennial Commons in Cincinnati and Canal Walk in Indianapolis show a partial though apparent utilization of Galle's theories, while Riverwalk in Milwaukee comes closest of the three to demonstrating the application of Galle's theories in Landscape Architecture. However, none fully exhibit Galle's theories. Nonetheless, the case studies, and in particular Riverwalk, exhibit the initial stages of a renewed interest in ornamentation in which culture is symbolically represented through nature. Landscape Architects, more than ever, are being called upon to embody the meaning of the land through a cultural synthesis in an expression of past/present and man/nature.
Department of Landscape Architecture

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Sweat, Ashley Dawn. "What is the nature of the professional practice of artist-teachers? four case studies /." unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-11172005-212321/.

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Thesis (M.A. Ed.)--Georgia State University, 2005.
Title from title screen. Paula P. Eubanks, committee chair; Melody Milbrandt, Joseph Peragine,Teresa Bramlette-Reeves, committee members. Electronic text (50 p.) : digital, PDF file. Description based on contents viewed May 29, 2007. Includes bibliographical references (p. 49-50).

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Christie, Laura. "Fragmented daughters in the novels of Henry James and Vladimir Nabokov and the case studies of Josef Breuer and Sándor Ferenczi." Thesis, University of Roehampton, 2009. https://pure.roehampton.ac.uk/portal/en/studentthesis/fragmented-daughters-in-the-novels-of-henry-james-and-vladimir-nabokov-and-the-case-studies-of-josef-breuer-and-sándor-ferenczi(d12c275a-8359-4390-88f9-afeabc603a14).html.

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This thesis focuses on the triadic relationships in works by Henry James and Vladimir Nabokov. I have used two psychoanalytic case studies, Bertha Pappenheim and Elma Pálos, to reflect how James and Nabokov use the analytic method for revealing stifled and fragmented voices in their daughter characters. I theorise that while Henry James prefigured the analytical doctor/patient dynamic in the father/daughter relationships in his novels, he also adds the mother figure, turning this into a triad. The controlling mother fragments the daughter’s speech and the situation of the triadic relationship damages the daughter’s ability to articulate her narrative. The novels, Watch and Ward (1871), Washington Square (1880), and The Awkward Age (1899) show James’s developing recognition of the role the mother plays in the triad, as well as his own role as author and narrator of the daughter’s story. The case studies also contain damaging triadic relationships. There has been limited interest in the triads and this, so far, has not been commented upon as a reason for the daughter’s mental disturbance. I use unpublished letters to try to uncover the ‘real’ voice of Elma. I see that literary and psychological criticism has been guilty of mistakes in research and misrepresentation. This has further fragmented the story of these women. I hope to show that both Henry James and Sigmund Freud inspired Vladimir Nabokov, despite his vehement opinions against them. He presents the same scenario of the triadic relationship, in a fictional but analytical setting, to express his own anxiety about ‘losing’ his native language. His feminised struggle is apparent in Lolita (1955), and even more so in the character of Lucette, in Ada (1969). Nabokov sees that, in analysis, the mother is a 3 threat to the daughter’s self-expression. He develops the mother character in his fiction to represent this discovery.

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