Dissertations / Theses: 'Relics in art'

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Coen, Bonnie. "Relics of psychic events /." Online version of thesis, 1995. http://hdl.handle.net/1850/12093.

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Munk, Ana. "Pallid corpses in golden coffins : relics, reliquaries, and the art of relic cults in the Adriatic Rim /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/6213.

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Smith, Veronica Rose. "Future relics : the rise and fall of the Big Box store." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4757.

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Future architectural relics are everywhere, manifest in the ultimately unsustainable patterns many American communities have replicated - endless weed-infested parking lots, decrepit malls, the abandoned Walmart glowering across the street at the even bigger Super Walmart. Gone are many of the small, independently owned businesses that lined main streets in small and medium-sized communities across the country, rendered relics by shopping malls lauding big-name brands or cheap products. Malls, too, may be on their way to becoming relics, due in part to the Internet and The Great Recession. However, architectural relics in the form of big box stores have haunted the American landscape since 1964. These box-like, impossibly large structures continue to be built, only to stand empty several years later when an even larger store model is constructed. The country is facing a new obsolescence of extravagance. No longer can our floundering economy support an infinite boom of boxes. Every new big box is a future relic. While many architectural and cultural historians such as Richard Longstreth, David Smiley, and Neil Harris have dissected the relic of the American shopping mall, few have grappled with the ubiquity of the big box store and how this structural form has departed from a longstanding tradition of retail architectural design. In this thesis, I analyze the factors have contributed to the rise and fall of these creaking behemoths of retail architecture. Ultimately, I contend that big box stores mark a stark departure in architectural theory and practice, and that this departure has manifested in a multitude of cultural, economic, and environmental consequences.

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Gerace, Samuel Thomas. "Holding Heaven in their hands : an examination of the functions, materials, and ornament of Insular house-shaped shrines." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/28697.

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Since the nineteenth century, the provenances, functions, and defining characteristics of a group of Insular portable containers, commonly called house-, tomb-, or church-shaped shrines, have been of interest to a number of disciplines such as History of Art, Archaeology, and Museology. As nearly all Insular house-shaped shrines were found empty or in fragmentary states, their original contents are a continued point of scholarly debate. In response to these examinations and based in part on the seventh-century riddle on the Chrismal found in the Ænigmata of Aldhelm, bishop of Sherborne, this thesis proposes questions such as: what type of container is best categorised as an Insular house-shaped shrine, what were their original contents and functions, and do their forms and materials communicate any specific cultural message(s)? By engaging with the two core concepts of functionality and materiality, which are further informed through direct object handlings of select Insular portable shrines, this thesis examines the forms and materials used in their construction. Taking these questions and the historical conversation into account, this thesis draws on the terminology employed to denote sacral containers in Old Irish and Latin works, which include hagiography and penitentials, discussions on the Temple of Jerusalem within early medieval exegesis, depictions of Insular house-shaped shrines and analogous forms in stonework and other mediums, and antiquarian, archaeological, and anthropological accounts of the discovery of Insular house-shaped shrines to more fully examine the functions of these enigmatic boxes. In doing so, the place of Insular house-shaped shrines within early medieval art, both Continental and Insular, will be more fully outlined. Additionally, a working definition of what can constitute an Insular house-shaped shrine is developed by examining their materiality, form, and prescribed functional terms, such as ‘reliquary’ and ‘chrismal’. Finally, this thesis shows that the functions of Insular house-shaped shrines are best understood in an overlapping and pluralistic sense, namely, that they were containers for a variety of forms of sacral matter and likely were understood as relics themselves only in later periods, which modern antiquarians later used as meaning-making devices in their writings on the spread of the early medieval ‘Celtic’ Church.

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Cornelison, Sally. "Art and devotion in late medieval and Renaissance Florence : the relics and reliquaries of saints Zenobius and John the Baptist." Thesis, Courtauld Institute of Art (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265113.

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6

McCann, Therese Marie. "Art, Artifacts, and Residue: The Space of The Exhibition in Ann Hamiltons indigo blue." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1529698973965083.

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Pienoski, Christine Marie Pienoski. "Pyramids of Lake Erie: The Historical Evolution of the Cleveland Museum of Art's Egyptian Collection." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461522282.

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Keogh, Kristina M. "The Presentation of Incorruptibility: The Praesentia of the Female Saint." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3664.

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My dissertation inserts the incorruptible body into the discussion of image devotion and relic veneration that followed the Council of Trent’s (1545-1563) decrees concerning the use of images, which affirmed Thomas Aquinas’s position that worship is passed from representation to archetype. This is addressed in terms of the image and the relic within the same sacred space, primarily in the context of the chapels of S. Caterina de’ Vigri (1413-1463; canonized 1712) in Bologna and S. Maria Maddalena de’ Pazzi (1566-1607; canonized 1669) in Florence, where there were not only man-made representations of the saint, but also the whole and entire body of the saint herself. Bringing together an array of visual and textual materials including such objects as the presentation of the preserved body, hagiographies, altarpieces, votive images, and popular prints, I analyze the powerful physical presence (praesentia) of the incorruptible body in relation to the saint’s somatic miracles, the visual commemoration of those miracles at the shrine, and the ultimate transportation of this means of access to the divine when portable images moved away from the body. I analyze how and to what extent the presence of the saint was asserted through the intact corpse and through images of the relic body. By focusing on both the presentation of the incorruptible corpse itself and the visual and written representation of the female relic body in a variety of media, this study will analyze the reception of the powerful physical presence of the holy incorruptible body and its representations. I argue that praesentia is signified not only through the display of the relic body, but also through a synthesized emphasis on the incorruptible corpse as prototype, relic, and image.

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Lawton, Carol L. "Attic document reliefs : art and politics in ancient Athens /." Oxford : Clarendon Press, 1995. http://www.perseus.tufts.edu/cgi-bin/ptext?doc=1999.04.0005.

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Thunø, Erik. "Image and relic : mediating the sacred in early medieval Rome /." Roma : L'Erma di Bretschneider, 2002. http://catalogue.bnf.fr/ark:/12148/cb39178939p.

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Bass, Matthew L. "Cutting Into Relief." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3416.

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The following is an examination of the ideas and decisions that went into an art exhibition held in gallery 303 of the Harris Fine Art Center February 1-13, 2013. The exhibition explores the relationships of the artwork, artist, viewer, and space. The catalyst for the above mentioned exploration is a process of making art using linoleum relief printing. The subject of the artwork is an in-depth examination of the material and printing process. It is my contention that such a close look at the art making process reveals the attitudes and decisions that we make with any human endeavor.

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Montagno-Leahy, Lisa. "Private tomb reliefs of the late period from Lower Egypt." Thesis, University of Oxford, 1988. http://ora.ox.ac.uk/objects/uuid:3b3699de-8498-4021-bf5f-b35fcf1cf33c.

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This study considers the relief decoration of private tombs in Lower Egypt in the period 664-332 BC. The basis for analysis is a chronologically arranged descriptive catalogue, which includes both isolated blocks in museum collections and tombs whose location is known. The present condition of the relief and its content are described in detail there. Texts are considered where they provide infotmation on provenance and dating, and hand-copies are provided. Each piece is illustrated in the plate volume. Enough of the material can be dated by textual evidence to provide a solid framework for stylistic ordering of the remainder. The resulting chronology has important implications, dividing the period into two major phases, covering the seventh and sixth centuries, and the fourth century, separated by a hiatus in production of tomb reliefs. The chronology proposed eliminates the possibility that either Greeks or Persians exercised any significant influence on Egyptian art before the very end of the period. Instead, native tradition emerges as the primary inspiration for Late Period artists. Two sources stand out. The first is the Old-Middle Kingdom tomb repertory (archaism), the second is the New Kingdom tradition carried on in the minor arts, a source largely-ignored hitherto. These were not slavishly copied, but adapted and "modernized" to suit the taste of the time. The independence and creativity of Late Period artists is emphasized. A discussion of stylistic development in light of the dating system is given, and several themes are analyzed in detail as illustrations of the larger issues raised.

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Schlothan, Betty L. "Intriguing Relationships| An Exploration of Early Modern German Prints of Relic Displays and Reliquaries." Thesis, University of California, Riverside, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1543222.

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A group of early modern German prints related to relic displays, reliquaries, and collecting, though explored by Heinrich Otte in the mid-1800s, has been ignored in recent art historical literature. Though references to the various prints appear in texts on social, cultural, and religious history, a more in-depth consideration of the works is warranted. This thesis, as a preliminary step, categorizes the prints into two sub-groups, narrative and index. It further utilizes the intriguing relationships embodied in the prints to trace societal and cultural changes, including the rise of event reporting, collecting and organization of knowledge, and changes in religious practices.

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Braun, Claudia. "Römische Bronzebalsamarien mit Reliefdekor /." Oxford : Archaeopress, 2001. http://catalogue.bnf.fr/ark:/12148/cb38936140m.

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Seifert, Bernd. "Paradoxien visueller Wahrnehmung : das photographische Bild als Relikt eines im 'Ausklang' befindlichen technischen Mediums /." St. Ingbert : Röhrig Universitätsverl, 1998. http://catalogue.bnf.fr/ark:/12148/cb39288794n.

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Earls, Darlene Knies. "The promise comes from faith /." Online version of thesis, 1993. http://hdl.handle.net/1850/11767.

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Barnett, Teresa. "The nineteenth-century relic a pre-history of the historical artifact /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1562129951&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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King-Smith, Leah. "Reading the reading : an exegesis on "traces... vestiges... energies... a relic... landmark... stage: New Farm Powerhouse Project"." Thesis, Queensland University of Technology, 2001.

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As an artist Leah King-Smith has worked for several years in the creative medium of photography exploring notions of multidimensional states of consciousness particularly in reference to the psychic work of Jane Roberts. In this thesis King-Smith presents her creative developments as a technological shift from analogue to digital imaging, and continues, in her Research Project, to follow the same threads of investigation into the use of multi-layering as symbol and expression of simultaneous time. The thesis is two-fold in approach where in the first section, processes, contexts and concepts are presented and in the second section the themes and analysis of the final works are expressed through a creative writing style. The dichotomous method of interpretation in these two sections embodies the antithetical relationship artists experience between reflexive analysis and creative practice as methods of knowledge.

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Peláez, Ana María. "Le toucher du visuel /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2005. http://theses.uqac.ca.

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York, Karen S. "American portrait cameo cutting an alternate apprenticeship in relief sculpture, 1830-1870 /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3162291.

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Thesis (Ph.D.)--Indiana University, Dept. of History of Art, 2005.
Title from PDF t.p. (viewed April 15, 2009). Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0007. Chair: Michelle Facos.

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Mynchenberg, JoAnn P. "Under Pressure." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1216148313.

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Deka, Mark Stanley. "Images of Scylla and riding Nereids in tondo reliefs of the Hellenistic period." [S.l. : s.n.], 1992. http://www.ohiolink.edu/etd/view.cgi?case1055961009.

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Ledwell, Paul H. "A synthesis of form, color, and content in relief sculpture." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/724972.

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The successful combination of form, color, and content prior to the relief construction movement in the 1960's was usually associated with two-dimensional artwork. The problem, then was whether the artist could successfully combine form, color, and content in three-dimensional sculpture pieces.The content of the work described relates to the artist's personal experiences as an underground uranium miner through the medium of relief sculpture. The successful combination of form, color, and content conveyed the artist's mining experiences to a neophyte audience. The visual variety and motif in the work, however, will not be lost on any members of the audience who are also sculptors.The methods used by the artist included textbook research and studio experimentation to produce a series of pieces which would address the successful combination of form, color, and content. The research also included a study of other artists' use of shape and color in the relief sculpture format. The artist's findings were documented in the form of a thesis paper and also eight relief sculpture pieces which employed a combination of wood and paint. The paint was applied to the wood structure using a heavy impasto technique which completely obscures the wood and allows the artist to manipulate both form and color. The texture invites the viewer to explore the surface and shapes without consciously sorting out what materials are used in the construction of the sculpture.
Department of Art

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Brand, Peter James. "The monuments of Seti I and their historical significance epigraphic, art historical and historical analysis /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0009/NQ35116.pdf.

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Bachtel, April. "Innate Materiality." Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1304282952.

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Sayas, Ferrer José. "Las acciones del art.1843 y su relación con el art.1852 del Código Civil." Doctoral thesis, Universitat Pompeu Fabra, 2009. http://hdl.handle.net/10803/7309.

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La tesi doctoral "Les accions de l'art. 1843 i la seva relació amb l'art. 1852 del Codi civil" analitza les accions que corresponen al fiador abans del pagament davant al deutor.

S'examina, en primer lloc, els antecedents històrics de les accions contingudes en l'art. 1843 Cc; també com és regulada la qüestió pel Dret comparat. En segon lloc, s'estudia la relació existent entre l'art. 1843 i 1852 Cc, en el sentit de resoldre si és preceptiu l'exercici de les accions de rellevament de la fiança per a poder oposar les accions protectores de la subrogació.

Les conclusions bàsiques de la tesi es dirigeixen a què no sembla defensable la commixtió entre l'art. 1843 i 1852 Cc. Així mateix, es proposen una sèrie de mesures que pot utilitzar el fiador a l'empara de la nova Llei Concursal i que el concepte d'insolvència que sembla acollir l'art. 1843 Cc és el corresponent al perjudici del dret de crèdit.
La tesis doctoral "Las acciones del art. 1843 y su relación con el art. 1852 del Código civil" analiza las acciones que corresponden al fiador antes del pago frente al deudor.

Se examina, en primer lugar, los antecedentes históricos de las acciones contenidas en el art. 1843 Cc; también como es regulada la cuestión por el Derecho comparado. En segundo lugar, se estudia la relación existente entre el art. 1843 y 1852 Cc, en el sentido de discernir si es preceptivo el ejercicio de las acciones de relevación de la fianza para poder oponer las acciones protectoras de la subrogación.

Las conclusiones básicas de la tesis apuntan a que no parece defendible la conmixtión entre el art. 1843 y 1852 Cc. Asimismo, se proponen una serie de medidas que puede utilizar el fiador al amparo de la nueva Ley Concursal y que el concepto de insolvencia que parece acoger el art. 1843 Cc es el correspondiente al perjuicio del derecho de crédito.
The doctoral thesis "The actions of art. 1843 and its relation to art. 1852 Civil Code "examines the actions of the guarantors before payment against the debtor.

The tesis examines, first, the historical background of actions contained in art. 1843 cc, as well as the matter is regulated by the comparative law. Secondly, it studies the relationship between art. 1843 and 1852 cc, and if necessary the exercise of the shares the relief of the bail to exercising the protective actions of the subrogación.

The basic conclusions of the thesis suggests that it does not seem defensible conmixtión between the art. 1843 and 1852 of the Civil Code. It also proposes a series of measures that can use the guarantor under the new Bankruptcy Act and that the concept of insolvency seems that hosting the art. 1843 cc is the corresponding prejudice to the right of credit.

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Biton, Marlène-Michèle. "Les bas-reliefs des palais royaux d'Abomey, Bénin (ex-Danxomé)." Paris 1, 1996. http://www.theses.fr/1996PA010519.

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Ce travail repose sur l'analyse d'un ensemble inventorie par nos soins de 329 bas-reliefs actuels qui ornent les murs des bâtiments des palais royaux et princiers de la ville d'Abomey (Bénin) et d'un deuxième ensemble de 248 pièces historiques relevées lors de la conquête du Danxomé par la France. Les œuvres sont étudiées dans leur contexte historique, sociologique et environnemental. Des données sur les artistes et les techniques utilisées sont proposées. Un classement thématique met en relief des catégories dominantes. Le rôle mnémotechnique de ces œuvres est souligné. La question de la datation et du rapport des bas-reliefs avec les évènements évoqués sont également traités. Des éléments d'une esthétique Fon sont dégagés. Des comparaisons entre les deux ensembles permettent d'appréhender des évolutions
This work is based on an analysis of an inventoried ensemble by us of 329 contemporary bas-reliefs which decorate the constructions'walls of royal and princes palaces of abomey's town and a second ensemble constituted by 218 historic pieces relieved during the conquest of the Danxome by France. The pieces are studied in their historical, sociological and environmental context. Informations about artists and technics used are proposed. A thematic classification underlignes dominant categories. The mnemotechnic fonction of this pieces have been placed in. The datation problem and the rapport with the evocated events are also treated. Elements of Fon aesthetic are coming out. Comparaisons between these two ensembles allowed to understand evolutions

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Melnyk, M. "Some issues of the development of ukrainian art metalloplastics (XIII - XVIII centuries)." Thesis, National Aviation University, 2021. https://er.nau.edu.ua/handle/NAU/50705.

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1. Petrenko, M.Z., 1970. Ukrainske zolotarstvo XVI-XVIII stolittia [Ukrainian goldsmith XVI-XVIII centuries]. Kyiv: Naukova dumka. 2. Zholtovsky, P.M., 1983. Khudozhnie zhyttia na Ukraini v XVI-XVIII stolittiakh [Artistic life in Ukraine in the XVI-XVIII centuries]. Kyiv: Naukova dumka. 3. History of decorative art of Ukraine, 2014. Kyiv: IMFE.
We begin our report about the development of Ukrainian artistic metalloplastics with the period beginning after the Mongol-Tatar attack of 1239-1242 to Kyiv Rus. The masters, who managed to survive and keep their freedom, began to move to unconquered lands in the Galicia-Volyn principality after the practical destruction of the jewelry industry and the decline of all kinds of this art. The traditions of Kyiv Rus were continued, and as often happens, under the influence of Western European art received a new development. In the XVI-XVII centuries, jewelers began to prefer engraved pattern and flat cast or chased relief (this is the technological process of ornamentation metals under pressure, which consists of making a drawing or an inscription by embossing certain tools of a given relief. The minting is done volumetric, plane and castings).
Ми починаємо свою доповідь про розвиток української художньої металопластики з періоду, що розпочався після нападу монголо-татар 1239-1242 рр. На Київську Русь. Майстри, яким вдалося вижити і зберегти свободу, після практичного знищення ювелірної промисловості та занепаду всіх видів цього мистецтва почали переселятися на нескорені землі Галицько-Волинського князівства. Традиції Київської Русі були продовжені, і, як це часто буває, під впливом західноєвропейського мистецтва отримало новий розвиток. У XVI-XVII століттях ювеліри стали віддавати перевагу гравірованому візерунку та плоскому литтю або гнаному рельєфу (це технологічний процес орнаментації металів під тиском, який полягає у виконанні малюнка або напису, вибиваючи певні знаряддя даного рельєфу. карбування проводиться об'ємним, площинним і відливним).

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Santi, Valentina de. "Topographie pittoresque : art et technique militaires dans la mise en oeuvre du « Plan-relief du Siège de Rome »." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0107.

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La tradition des plans-reliefs, ancienne pratique des ingénieurs des Fortifications dont l'origine se situe sous le règne de Louis XIV, reprennent, au tournant des XVIIIe et XIXe siècles, une nouvelle vitalité. Ce moment est le point de départ de notre recherche qui se concentre en particulier sur la deuxième quart du XIXe siècle en s'attachant à deux figures principales: Adolphe-Léon Leymonnerye, artiste topographe de la Galerie, et Jean-Jacques Marie Augustin Leblanc, topographe en charge au service des Places Étrangères du Génie et membre de la Société géologique de France. Tous deux participent à la construction du plan-relief du Siège de Rome (1849-1852), ce qui constitue le cas d'étude de la recherche. Nous nous interrogerons alors sur la façon par laquelle les plans-reliefs, en tant que modèles réduits, dépassent le système géométrique, révèlent une multiplicité d'échelles et une mixité de références qui témoignent de la complexité des approches de cette connaissance d'un réel. En particulier, nous nous attarderons sur la continuité et sur les évolutions de la notion de pittoresque dans le contexte des réflexions sur le langage des cartes topographiques, de l'émergence des savoirs géologiques et de l'appropriation de l'espace par l'histoire nationale des années 1830. En nous appuyant sur le rôle heuristique de l'image au sein des analyses de la géographie historique ainsi que sur le renouvellement épistémologique de l'histoire de la cartographie, notre recherche se situe dans l'axe des réflexions de l'approche historique qui propose de questionner les modalités d'observation et de construction à l'origine des dispositifs visuels et de leur rôle dans le processus de construction des savoirs
The tradition of plans-reliefs, an ancient practice of Fortifications Engineers, whose origin lie in the reign of Louis XIV, was revitalized at the turn of the eighteenth century. This moment is the starting point of our research which tackles in particular the second quarter of th nineteenth century by focusing on two main figures: Adolphe Leon Leymonnerye, topographer artist of the gallery, and Jean- Jacques Augustin Marie Leblanc, a topographe serving the Places Etrangeres du Genie and a member of the Geological Society of France Both are involved in the construction of the plan-relief du Siege de Rome (1849-1852), which constitutes the case study of our research. We question then the way by which plans-reliefs, a models, exceeding the geometric system, reveal a multiplicity of scales and a mixture of references, which reflect the complexity of approaches of the knowledge of the real. In particular, we will emphasize the continuity and the evolutions of the notion of picturesqu within the context of reflections on topographical maps language, of the emergence of geological knowledge and of the appropriation of space by the national history during th nineteenth century. Building on the heuristic role of the image within the analysis of historica geography as well as on the epistemological renewal of the history of cartography, our research lies in the axis of reflexions of the historical approach which proposes to question the method of observation and construction underlying visual devices and their role in the process of knowledge construction

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Maier, Josef. "Architektur im römischen Relief /." Bonn : R. Habelt, 1985. http://catalogue.bnf.fr/ark:/12148/cb34885396v.

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Bowman, Claire F. "In between the space of you and I." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent16194375647394.

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Eriksson, Yvonne. "Tactile pictures : pictorial representations for the blind 1784-1940 /." Göteborg : [Acta universitatis gothoburgensis], 1998. http://catalogue.bnf.fr/ark:/12148/cb37194097j.

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Gillmann, Nicolas. "Les représentations architecturales dans l'iconographie néo-assyrienne." Université Marc Bloch (Strasbourg) (1971-2008), 2008. http://www.theses.fr/2008STR20021.

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Depuis les trente dernières années, les bas-reliefs néo-assyriens ont fait l’objet de diverses études iconographiques dont bien peu traitaient directement des représentations d’architecture. Le but de cette thèse est donc de recenser toutes les représentations d’architecture connues dans l’iconographie néo-assyrienne en vue d’en faire l’analyse systématique. Notre méthodologie s’articulera autour de deux axes : d’une part une étude iconographique consacrée à l’interprétation de la documentation sur le plan de la sémantique de l’image et de l’analyse des conventions iconographiques (1ère et 2ème parties) ; d’autre part, une analyse archéologique de cette iconographie sera entreprise, dans le but de confronter l’architecture représentée et l’architecture réelle (3ème partie). Il s’agira d’estimer la fiabilité des représentations architecturales néo-assyriennes, permettant ainsi de savoir dans quelle mesure l’archéologue peut fonder d’éventuelles reconstitutions de monuments ruinés sur ces représentations
Since the last thirty years, the Assyrian reliefs were the subject of several iconographical studies, but only a few of them dealt with architectural representations specifically. The purpose of this thesis is to list all the architectural representations known by us, in order to analyse them both from an iconographical and archaeological point of view. The first part of this study will be devoted to a semantic interpretation of the neo-Assyrian iconography, and the second to an analysis of the iconographical rules followed by the Assyrian craftsman. In the third part, the author intends to estimate the degree of reliability of the neo-Assyrian architectural representations, by comparing as far as possible real with depicted architecture. Henceforward, it becomes possible to know in what extent the archaeologist can base his future reconstructions of ruined monuments on the Assyrian reliefs

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Birkholtz, Magdalena Aletta. "The application of the National Credit Act 34 of 2005 within debt relief industry." Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/77427.

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The purpose of this study is to evaluate, within the practical arena, how debt counselling industry guidelines, being the Task Team Agreements and the Court Application Guidelines, challenge the application and interpretation of the National Credit Act 34 of 2005 (the NCA), in respect of the debt review process by leading to impractical application. The study achieves this purpose by discussing select challenges under two objectives to evaluate possible solutions to these challenges. The first objective is to discuss select factors that a debt counsellor must consider in determining overindebtedness. The finding of over-indebtedness is evaluated with consideration of the concept “financial means, prospects and obligations” as described in sections 78 and 79 of the NCA. The interpretation thereof is done with specific reference to the realisation of assets, consideration of household income, and the proposed consumer budget. These challenges demonstrate how opposing views and impractical expectations regarding “financial means, prospects and obligations” delay the court process in debt reviews. The second objective of the study is to discuss select factors that magistrates should consider in determining whether the re-arrangement proposal of a debt counsellor is fair. The select factors discussed are: interest rate concessions, repayment term concessions, the application of the in duplum-rule to debt restructuring proposals, and the ordering of a reckless credit investigation by a magistrate. The challenges discussed under the two aforementioned objectives demonstrate how the interpretational uncertainties with regard to the select factors challenge the finalisation of the debt review court process. The study concludes with recommendations on how these interpretational uncertainties can be resolved.
Mini Dissertation (LLM)--University of Pretoria, 2019.
Mercantile Law
LLM
Unrestricted

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Holtzmann, Bernard. "Etudes de sculpture thasienne les reliefs /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37614362x.

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Wright, Véronique. "Étude de la polychromie des reliefs sur terre crue de la Huaca de la Luna, Trujillo, Pérou." Paris 1, 2007. http://www.theses.fr/2007PA010614.

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Pour la civilisation Mochica (côte nord du Pérou, 1er - IXe siècle apr. J. -C. ), l'art mural représentait une expression artistique très importante qui permettait à l'élite de délivrer au peuple un message symbolique du pouvoir en place. Il n'était donc pas seulement décoratif mais avait aussi le rôle de vecteur idéologique, fondamental pour cette civilisation sans écriture textuelle. L'importance du décor mural au sein de cette société nous a donc incités à étudier son processus d'élaboration, à l'aide d'un outil peu exploité au Pérou sur ce type de supports: l'archéométrie. Ainsi, au travers de l'étude physico-chimique de la polychromie de la Huaca de la Luna, de la Huaca Cao Viejo, du complexe de Castillo de Huancaco et de la plate-forme funéraire de Sipan, nous avons pu acquérir de nouveaux indices d'entendement quant aux techniques picturales Mochicas, en reconstituant l'ensemble de la chaîne opératoire suivie, de l'extraction des matières premières à l'achèvement du panneau.

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Baer, Kevin A. "Ritual Process." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1606.

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My art is a means for investigating the passage of time, the decay of physical things, and the truth of mortality. I explore these concepts through process-oriented sculptures that emphasize ritual and material. The process is communicated with the creation of relics, often existing as drawings or the remains of degenerated sculptures. These relics bear witness to the process. I focus on themes of temporal change and death because they remain central to our metaphysical and physical existence. I see a diminished reverence for the power of death in our culture, and through my work I aim to pay homage to death while offering viewers an experience of “being present,” a deeper awareness of our existence in time. The mindfulness I speak of is an awareness of life’s temporal nature. My intention is to evoke an awareness of mortality giving rise to feelings of gratitude and humility.

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Wulfmeier, Johann-Christoph. "Griechische Doppelreliefs /." Münster : Scriptorium, 2005. http://catalogue.bnf.fr/ark:/12148/cb41304246z.

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Lippke, Holly Linn. "The economic effects of the Forest Resources Conservation and Shortage Relief Act on timber prices." Montana State University, 1993. http://etd.lib.montana.edu/etd/1993/lippke/LippkeH1993.pdf.

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In response to a new federal law, the Washington State Department of Natural Resources was required to restrict the export of unprocessed logs from state owned lands effective January 1 , 1991. Exported logs receive a greater price than domestically processed logs because of differences in quality, costs, and imperfect markets caused by regulation. A hedonic price approach is used to estimate implicit prices of timber sales characteristics, as well as supply and demand changes, and export restrictions. It is shown that the Forest Resources Conservation and Shortage Relief Act affects the price received in both domestic and export markets. Ceteris paribus, domestic timber prices decline, consistent with increased supply from the restrictions, and export prices increase, consistent with reduced availability. Both grade and species are significant factors in export price premiums. Export price premiums exist, even during a time when environmental concerns have resulted in drastic reductions in domestic timber supplies.

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Aylor, Floyd Irvin. "Blessed are ye poor a model for a Biblical response to hunger /." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.

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Paysant, Camille Mona. "Relire la photo-sécession : les relations internationales du groupe et la diversification de la pratique photographique au regard de la correspondance d'Alfred Stieglitz." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H059.

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Cette thèse a pour but d'apporter un regard complémentaire à l'histoire officielle de la Photo-Sécession au travers des correspondances d'Alfred Stieglitz et de ses collaborateurs. Communément présenté comme un groupe de photographes américains ralliés autour des idéaux d'Alfred Stieglitz, ces documents mettent en lumière une histoire alternative où la nature même de l'organisation se révèle organique, mouvante et continuellement questionnée par ses principaux acteurs. Une première partie est consacrée à l'analyse de la structure et au fonctionnement du groupe. Celle-ci remet en cause l'hypothèse d'un ensemble strictement « américain » pour découvrir un groupe aux aspirations internationales ainsi qu'une organisation fragmentée par des« factions». La Photo-Sécession ne cacherait-elle pas, au regard de ces sources à caractère confidentiel, une avant-garde fondamentalement internationale ? Dans une seconde partie, s'impose alors une réévaluation de l'héritage de ce groupe qui dépasse les limites du cadre esthétique, questionnant le statut même de photographe-artiste et redéfinissant les limites d'une pratique. Le corpus de près de 4000 documents consultés qui constitue le socle de l'étude est principalement composé de fonds issus de la Beinecke Rare Book and Manuscript Library (Yale, New Haven), du MoMA (New York), du Metropolitan Museum (New York) et des archives de la George Eastman House (Rochester)
Based on the correspondence between Alfred Stieglitz and his associates, this thesis aims at bringing a complementary view on the official history of the Photo-Secession. Commonly introduced as a group of American photographers united around Alfred Stieglitz's ideals, those written records reveal an alternative history where the nature of this structure reveals itself as being organic, moving and continuously challenged by its main members. The first part of this thesis focuses on analysing the group's structure and operation. The latter unravels the idea of a strictly "American" group where we can discover their international endeavours as well as an organization fragmented by its different 'factions'. In light of those private sources, was the Photo-Secession an international avant-garde? In the second part, we reassess the legacy of this group who worked outside of the limits of aesthetic frameworks, questioning the status of the artist-photographer and redefining the limits of a practice. Based on more than 4000 archival records, the core of this study stems from materials preserved at the Beinecke Rare Book and Manuscript Library (Yale, New Haven), the MoMA (New York), the Metropolitan Museum of Art (New York) and archives from the George Eastman Museum (Rochester)

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Pochmarski-Nagele, Margaretha. "Die dionysischen Reliefs in Noricum und ihre Vorbilder /." Wien : VWGÖ, 1992. http://catalogue.bnf.fr/ark:/12148/cb35573141z.

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Marullo, John. "Expressions, impressions, and reflections how are technologies affecting journalists, the candidates they cover, and the ordinary citizen who relies on both? /." CONNECT TO ONLINE THESIS, 2008. http://hdl.handle.net/1961/5698.

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Fernandez, Anthony. "The estate tax as revised by : the economic growth and tax relief reconciliation act of 2001 /." Staten Island, N.Y. : [s.n.], 2005. http://library.wagner.edu/theses/business/2005/thesis_bus_2005_ferna_estat.pdf.

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Singh, Sukhwinder. "What are the experiences and outcomes of anti-racist social work education?" Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48607/.

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This thesis seeks to interrogate the experiences and outcomes of anti-racist social work education and evaluate the pedagogic relevance and practice utility of teaching social work students about ‘race', racism and anti-racism. A mixed methods research strategy is drawn upon to explore how professional social work training prepares students to work with ‘cultural diversity' and ‘cultural difference' and to evaluate the outcomes of teaching and learning which focuses on anti-racism. The methodological position drawn upon in this thesis is a pragmatic one (Williams, 2006), which recognises the role of both nomothetic and idiographic approaches to enabling us to describe and understand how social work students and tutors experience and make sense of anti-racist social work education and the pedagogic challenges and barriers they face to engaging with this discrete area of professional education. Anti-racism is the theoretical and conceptual focus of this thesis and it encompasses a broad coalition of different perspectives and academic interests concerned with actively identifying and resisting racism. It has been characterised as a set of disparate polycentric overlapping practices and discourses (Anthias & Lloyd, 2002), whilst exhibiting a politically committed form of practice (Bhatti-Sinclair, 2011). It has also been described as a radical and oppositional project which emphasises the need to actively identify and resist racism (Bonnett & Carrington, 1996; Tomlinson, 2002). Historically it has been associated with the politics of resistance and social movements in support of decolonialisation, anti fascism and equal rights for immigrant workers (Dominelli, 2008). Frequently, it has been characterised as reflecting a radical dualism between ‘white racism versus Black resistance' (Gillborn & Ladson-Billings, 2004). Within social work education, anti-racism despite its retrenchment and appropriation into a broad ‘anti oppressive' practice model (Williams, 1999), continues to be regarded as a progressive educational strategy which has a transformative role. It is viewed as an effective approach to challenging the attitudes and values of individual students (Heron, 2008). It can also lead to ‘perspective transformation' (Mezirow, 1981), and ‘critical consciousness' through the process of conscientization (Freire, 1970). Anti-racism is therefore considered to have a valuable pedagogic role in raising awareness of racial inequalities and the processes associated with racial exclusion, whilst also providing a wider critique of the state, its culture, its institutions, ideology, legislation and policy frameworks (Singh, 2006a). The qualitative and quantitative data presented in this thesis suggests that it is possible to discover the situated experiences of teaching and learning on anti-racism and measure how these pedagogic interventions can affect and lead to knowledge, skills and attitudinal change (Carpenter, 2005; 2011). The empirical evidence drawn upon in this thesis identifies important group differences, related to age, ‘race' and experience of working with a BME service user, which are important for understanding how anti-racist social work education is experienced differently by learners, and how it leaves a complex set footprints which enable us to appreciate how this educational intervention works in different ways for different types of students. Sometimes these differences are subtle, but at other times they are more evident and suggestive of group experiences which go beyond the individual. The empirical evidence also suggests that social work educators experience anti-racist social work education as a challenging and emotionally supercharged area of the curriculum and that their levels of engagement, preparedness and commitment is often dependent upon where they are positioned socially, culturally and politically. This thesis is important because regionally and nationally there have been very few attempts to empirically capture how professional social work training programmes accommodate and evidence ‘race' equality and cultural diversity issues (Williams et al., 2009; Williams & Parrott, 2013).

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Chitela, Yuvaraj R. "Sustainable Ecofriendly Insulation Foams for Disaster Relief Housing." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984180/.

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Natural disasters are affecting a significant number of people around the world. Sheltering is the first step in post-disaster activities towards the normalization of the affected people's lives. Temporary housing is being used in these cases until the construction of permanent houses are done. Disposal of temporary housing after use is leading to a significant environmental impact because most of them are filled with thermally insulative polymer foams that do not degrade in a short period. To reduce these problems this work proposes to use foams made with compostable thermoplastic polylactic acid (PLA) and degradable kenaf core as filler materials; these foams are made using CO2 as blowing agent for insulation purposes. Foams with PLA and 5%, 10% and 15% kenaf core were tested. Different properties and their relations were examined using differential scanning calorimetry (DSC), thermal conductivity, mechanical properties, scanning electron microscopy (SEM), x-ray μ-computed tomography (μ-CT) and building energy simulations were done using Energy Plus by NREL. The results show that mechanical properties are reduced with the introduction of kenaf core reinforcement while thermal conductivity display a noticeable improvement.

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Périot-Bled, Gaëlle. "Des œuvres éphémères devenues mémorables : modalités et enjeux d’une transmission fragile." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080107.

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Ce travail de recherche part de la description d’événements artistiquescontemporains, réexposant ou rejouant des oeuvres éphémères du passé, afin d’analyser lesmodalités de leur transmission. Dans un premier moment, il s’agit de montrer que l’éphémèreopère une réduction temporelle qui met en crise une conception de l’oeuvre que la tradition desarts plastiques a fondée sur la conservation de l’objet et de la trace. Or, lorsque les oeuvreséphémères nous sont données a posteriori, dans le corps du vestige ou de l’archive, la questionest de savoir si leur reconnaissance par l’institution ne coïncide pas avec l’inexorable perte deleur discours. Dans son second moment, ce travail cherche à mettre en évidence une modalitéessentielle de la transmission que les oeuvres éphémères ont contribué à inscrire dans lespratiques : une forme de théâtralité dont les signes manifestes sont la requalification du muséecomme scène et du commissaire comme scénographe et metteur en scène. Plus profondément,cette modalité révèle un nouvel ethos né de la relation fragile entre l’oeuvre et des spectateursdevenus témoins. Car le devenir des oeuvres éphémères se fonde sur la conversion d’uneémotion mémorable en devoir de transmettre. C’est à la mise au jour de cette opération que cetravail doctoral se consacre finalement, pour montrer comment le devenir mémorable engagetoujours un sens de la communauté humaine
This research work starts from the description of contemporary artistic events, reexposingor replaying ephemeral mankind's past achievements, in order to analyse the modalitiesof their transmission. In a first moment, it is intended to show that the ephemeral carries out atime-based reduction that puts in crisis a conception of the work of art that the tradition of thevisual arts has founded on object and trace conservation. However, when ephemeral worksreach us a posteriori, in the frame of the vestige or archive material, the question is to know iftheir recognition by the institution does not coincide with the inexorable loss of their speech.In its second moment, this work seeks to highlight a key modality for transmission thatephemeral works have contributed to graft onto established practices : a type of theatricalpresence the obvious signs of which being the requalification of the museum as a stage and ofthe curator as a set designer and stage manager. At a deeper level, this modality reveals a newethos arising out of the fragile relationship between the work and spectators having becomewitnesses. For, the destiny of ephemeral works is based on the conversion of an unforgettableemotion into a duty of transmission. It is with the updating of this operation that this doctoralwork is ultimately devoted to, to show how the memorable becoming always engages a sense of thehuman community

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Tagalidou, Efpraxia. "Weihreliefs an Herakles aus klassischer Zeit." Jonsered : P. Ǻströms, 1993. http://catalogue.bnf.fr/ark:/12148/cb388954183.

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Steigman, Kenneth Lee. "Nesting Ecology of the Dickcissel (Spiza americana) on a Tallgrass Prairie Relict in North Central Texas." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278787/.

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Eighty-three species of vascular plants were inventoried on the prairie relict during peak dickcissel nesting. Based on foliar cover and occurrence frequency, the five dominant plants were heath aster (Aster ericoides), eastern gammagrass (Tripsacum dactyloides), little bluestem (Schizachyrium scoparium), sensitive briar (Schrankia roemeriana) and meadow dropseed (Sporobolus asper). Sixty-one percent of dickcissel nests were constructed on or immediately next to three plant species: eastern gammagrass, sensitive briar and green milkweed.

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Paquerault, Sophie. "Restitution du relief à partir d'images radar par radarclinométrie /." Paris : École nationale supérieure des télécommunications, 1998. http://catalogue.bnf.fr/ark:/12148/cb36995654d.

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Dissertations / Theses on the topic 'Relics in art'

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