Dissertations / Theses on the topic 'Tourism and the arts Great Britain'
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Chien, Jui-Jung. "Aesthetics, cultural policies and the Arts Council of Great Britain." Thesis, University of Leeds, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394439.
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Lloyd, David. "Tourism, pilgrimage and the commemoration of the Great War in Great Britain, Australia and Canada, 1919-1939." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260427.
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Keen, Susan. "Analyses of the English academicvocational divide in physical education an investigation into the claimed parity of esteem between the A-level physical education qualification and the advanced General National Vocational Qualification leisure and tourism." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32918.
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British government introduced a new General National Vocational Qualification (GNVQ) as an alternative to the A-level qualification in response to a low skilled workforce. Although these qualifications are promoted as equivalent to the A-levels, vocational qualifications are considered second best, causing an academic/vocational divide. Some researchers have analyzed the internal and external nature of the qualifications. However, little empirical evidence directly compares the two. This study focused on analyzing the two equivalent qualifications represented in the national framework.The study used common areas of the A-level Physical Education and the GNVQ Leisure and Tourism curriculum to construct an examination paper consisting of an equal number of A-level and GNVQ-style questions. Two groups of A-level and GNVQ students were randomly selected from Godalming Sixth Form College to take part in the examination, and the performance scores were analyzed. Findings suggest no significant difference in performance scores, t(28) = 0.08, p = 0.94, supporting the need for further research. These results may assist in closing the academic/vocational divide. In turn, this may lead to more opportunities in industry and in universities for those achieving the GNVQ. In order to achieve true parity of esteem between the qualifications, reform needs to focus on the internal structure of the qualifications by combining the two curricular into one course represented as one qualification rather than organising the separate qualifications in a hierarchical external framework that still promotes the academic/vocational divide within the framework.
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Hardiman, Louise Ann. "The firebird's flight : Russian arts and crafts in Britain, 1870-1917." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709085.
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Upchurch, Anna Rosser. "Maynard Keynes, Vincent Massey, and the intellectual origins of the Arts Council of Great Britain." Thesis, University of Warwick, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502615.
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Rezazadeh-Khamnei, Fariba. "The administration of the arts in Great Britain, the United States of America and Italy." Thesis, City University London, 1990. http://openaccess.city.ac.uk/7764/.
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The following discourse takes three countries, each well known in its for its artistic treasury and arts, looks at the way each handles the administration of its arts, and tries to draw lines of similitude as well as disparity between each and the other two. Reference has been made to as many works of research as available to the writer, but a considerable amount of field work has also been undertaken to find facts and examples at first hand. In the case of each country, specific attention has been paid - in the area of supporting, maintaining and providing for the arts - to the public sector with its various tentacles and the private sector in its different forms and with itsdifferent motives. This has been done in such a manner as to make an overall comparison possible and, where applicable, to show where one country could benefit from a practice prevalent in another or how one country's meat could turn out to be another's poison. The ultimate purpose behind the study is not, however, merely to document statistical facts and figures or to look at the business of administering the arts as a rigid set of rules, regulations or even requirements, but to use the facts and figures obtained in the study and the practical applications observed in the three countries studied to investigate the nature of the quandary in which many seem to find the arts, and to examine the possibility of yet another attempt at resolving it. History is for others to write after the fact; any one generation's contribution to - it can at best be the notation of instances and a description of influences brought to bear upon them. The present work is not trying even to do that. To the writer, the arts are a world unto themselves and even though they have to be made to face. Economic reality and suffer administrative discipline, this should be done in such a manner as not to curb the artist himself; for as Keynes said, the true artist 'walks where the breath of the spirit blows him: he cannot be told his direction.' It is with that attitude that the writer looks at the subject of arts administration and tries to assess its possibilities, and impossibilities.
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Kaat, Jacques. "The reception of Dutch fictional prose in Great Britain : a reception-sociological study of Dutch twentieth century fictional prose in translation in Great Britain (1970-1983) in relation to the Dutch and English literary canon." Thesis, University of Hull, 1987. http://hydra.hull.ac.uk/resources/hull:3099.
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Mercure, Tammy. "Big Rock Candy Mountain: Photographs of the Great Smoky Mountain Tourist Towns." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1815.
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The photographer discusses the work in Big Rock Candy Mountain: Photographs from the Great Smoky Mountain Tourist Towns, her Master of Fine Arts exhibition held at the Reece Museum, Johnson City, Tennessee from September 22 to December 18, 2009. The exhibition consists of 17 large-scale color Archival Inkjet Prints edited from a large body of work done in the tourist towns surrounding the Great Smoky Mountains.
Topics include the historical and contemporary artistic influences on the work, examining the work of Jacques-Henri Lartigue, Weegee, Martin Parr, and Joel Sternfeld. A short history of the area, the subject of tourism pertaining to the work, and works from the exhibition are also discussed.
Included is the complete catalogue of the Big Rock Candy Mountain exhibit.
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Anderson, Caroline W. "Rebranding the Aristocracy: The British Aristocracy in the Twentieth Century as Portrayed in Contemporary Nostalgic Writing." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/266.
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This thesis examines the British aristocracy in the twentieth century as perceived in contemporary writing. It asserts that the image of the aristocracy is heavily marked by and perpetuated by the use of nostalgia. It also explores the idea that the contemporary members of the aristocracy utilize the existence of nostalgia as a way to commodify their past social history for profit.
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Todman, Amy Clare File. "'The draught of a landskip mathematicall' : Britain's landmarks delineated, 1610-1750." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4968/.
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This thesis considers the making and circulation of drawn and printed imagery in Britain over the period 1610-1750 with a particular emphasis on the observation and record of place. It takes as its focus the contested position of the visual image in Britain over this period, considering the place of the record of the land, past, present and future, in the making and re-making of the country. It is particularly concerned to elucidate links between different forms of depictive practice: ‘pictorial’ and ‘mathematical’, evident at the time of their making, if often lost in their interpretation in the modern literature. These depictive traditions are explored in order to examine the value of the categories of ‘real’ and ‘ideal’ that have tended to dominate narratives of landscape history. Throughout, drawings and prints are considered as forms of knowledge that combined a number of traditions and practices, aged along with those more recent. Tensions between theories and practices of image-making are central rather than incidental to the study, discovered through an examination of manuals and treatises as well as drawings and prints. There is also a recognition of the importance of collecting practices and patronage over this period, explored through the extended legacies of Lord Thomas Howard, Earl of Arundel. A focus on collections and the legacies of landscape imagery has necessitated that images be brought together from a wide range of regional and metropolitan libraries, archives and art galleries, and reconnected with the wider cultural, political and religious worlds through which they were circulated and enacted at the time of their making. Drawing on a number of disciplinary traditions, this approach offers a new perspective on topographically-informed imagery over this extended period, seeking to expand the parameters of the interpretation of such works.
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Wiltshire, Imogen. "Therapeutic art concepts and practices in Britain and the United States (1937-1946)." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7492/.
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This thesis provides the first analysis of occupational therapy and art therapy from an art historical viewpoint. Based on archival material, it examines how modern artists, art pedagogues, schools and museums theorised, implemented and publicised therapeutic art-making practices. It focuses on four case studies in Britain and the US (1937-1946): occupational therapy by László Moholy-Nagy at the School of Design, founded as the New Bauhaus (Chicago); art therapy by Arthur Segal (London and Oxford); Northfield Military Hospital (Birmingham); and The Arts in Therapy exhibition series at the Museum of Modern Art (New York). Elucidating the concepts, practices and display of therapeutic art across these institutions, this research presents new intersections between modern art and medicine. It contributes to the history of art, the history of healing, and the growing medical humanities concerned with their entanglement. Therapeutic approaches defined art as an experiential process, shifting emphasis away from objects, with focus on the psychological and physiological effects on makers rather than what they produced. Consequently, this thesis expands art historical remits by presenting narratives of art that are culturally, socially and politically situated but that predominantly concern ideas, processes and effects on individuals rather than objects, images and performances by them.
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Vaughan, David Roger. "The economic benefits of visitor spending for local communities in Great Britain : an examination of the development, application and main findings of proportional multiplier analysis." Thesis, University of Edinburgh, 1988. http://hdl.handle.net/1842/27020.
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McBurney, Stephen. "Colour cinema in Scotland, 1896-1906 : the materiality of colour and its social contexts in Aberdeen, Inverness and Edinburgh." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30977/.
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Over the course of six chapters, this thesis documents colour cinema in Scotland between 1896-1906, focusing on three locations: Aberdeen, Inverness and Edinburgh. Chapter One sets out the scope of the thesis, and defines the terms ‘colour’, ‘cinema’ and ‘place’. An overview of the relevant existing literature is then provided, tracing the evolution of the historiography of Scottish cinema and that of early colour film more widely. This chapter argues that ideologically charged historiographies have largely dismissed or marginalised both Scottish cinema and early colour film; the former deemed irrelevant, and the latter juvenile or crude. Chapter One concludes with a discussion of the historiographic principles upheld in “New Cinema History”, drawing attention to the pertinence of such principles for this thesis’s methodology. Chapter Two profiles prominent colour film technologies and techniques that were in use between 1896-1906, and is split into six sections: coloured lights, tinting, toning, hand-painting, stencilling and Kinemacolor. Chapter Three focuses on early cinema in Aberdeen, in particular Walker & Company, and their experiments with hand- painted films and coloured lights. Walker & Company purchased and hand-painted Up the Nile, the Way to Atbara (1899) to conjure imperialist sentiment; produced and hand- painted The Great Fire of Bridge Place (1899) as a polemic against Aberdeen Council; and experimented with coloured lights on film in spectacular and innovative ways. Chapter Four addresses early cinema in Inverness, focusing on the town’s only filmmaker and exhibitor: John Mackenzie. Mackenzie dismissed painted films because they jarred with his aesthetic principles as a serious photographer. Furthermore, the serpentine dance was locally condemned as immoral, thus rendering the widely popular hand-painted film versions of this routine as a subversive force. Chapter Four concludes with a discussion of Mackenzie’s filmic representations of the Highlands, and how they dramatically changed once he accepted an offer of employment from the Charles Urban Trading Company in 1903. Chapter Five documents early cinema in Edinburgh, highlighting the colourful sensorial environments within which early local film exhibitions took place; the conspicuous presence of stereoscopy and colour photography in early cinema; and the influence of Edinburgh’s rich pantomime traditions on local exhibitors. Chapter Six stresses the importance of this thesis, and its potential ramifications for future research.
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McCormack, Helen. "A collector of the fine arts in eighteenth-century Britain, Dr William Hunter (1718-1783)." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1890/.
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Fine art, in the form of oil paintings, prints and drawings, accounts for a considerable proportion of the collection formed by the Scottish anatomist, Dr William Hunter. This thesis examines the contexts for the various works of art that were either bought or commissioned by him or were the result of donations and gifts. It covers the period from the 1740s, when Hunter arrived in London until his death in 1783 and follows his collecting activities from their origins in the specialist, anatomical-antiquarian interests of his predecessors in the 1750s to the more elaborate works that were increasingly available to him through his contacts with artists and dealers by the 1770s. This involves placing Hunter within a chronology of collecting during the eighteenth century, a period characterised by an expansion of cultural activity within all the arts. Such a commodification of culture brought with it various implications for the production and reception of the arts that had been predominantly the reserve of the aristocracy. William Hunter was a professional, a new type of Gentleman Connoisseur, whose motivations to collect were inspired by an innate empirical curiosity that dominated the era. Therefore, curiosity as a type of investigative phenomenon is considered in the thesis as the driving force behind the accumulation and calculation of of collectible objects. Hunter's incorporation of a fine art collection within a museum dominated by anatomy and natural history calls for a re-considertation of the place of art derived from the close study of nature during the period. His influence as a teacher and patron of the arts is also re-considered here by a closer examination of the part he played in the community of artists that emerged in London during the 1760s. The thesis employs a methodology that combines the techniques of micro-history, a close cultural-anthropological analysis viewed through a framework of more general, theoretical themes, classicism, antiquarianism and consumerism that seek to impose an understanding on the sheer diversity and range of interrelated ideas that constitute the practice of collecting during the eighteenth century. It reveals that, rather than standing on the periphery, William Hunter played a crucial, if not central, role in the promotion and dissemination of the fine arts in Britain.
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Thomson, Jonathan Wyville. "From aestheticism to the modern movement: Whistler, the artists Colony of St. lves and Australia, 1884-1910." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B29293479.
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White, Gillian. "'That whyche ys nedefoulle and nesesary' : the nature and purpose of the original furnishings and decoration of Hardwick Hall, Derbyshire." Thesis, University of Warwick, 2005. http://wrap.warwick.ac.uk/1200/.
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This study considers the nature and purpose of the original furnishings and decoration of Hardwick Hall. It analyses surviving artefacts, inventories, accounts and other documentation, as well as other comparative contemporary literary and visual sources. It seeks to reveal more about Bess of Hardwick's motives and processes in creating the interior of Hardwick. The Introduction includes a brief biography of Bess and a survey of existing literature on Hardwick. It also indicates the scope for new work. Chapter Two provides a context for the later chapters by considering the organisation of space within the building and its social significance. In order to understand the relationship between the two Hardwick Halls a detailed analysis of the Old Hall's whole layout is offered for the first time. Chapter Three analyses the furnishings as physical objects. It asks what Bess owned, how she acquired it, how she used it and how her practices compared with other peoples'. Discussion is based on the 1601 inventory, Bess's household accounts, surviving artefacts and other comparative material. Bess's unpublished will and earlier inventories of Chatsworth and Northaw are also included in the analysis and presented as appendices. Chapter Four analyses three iconographic themes: the assertion of identity, the government of the self, and the government of the nation. This is done by making detailed case studies and seeking to interpret the objects through contemporary ideas, sources and examples. Chapter Five summarises the chief fmdings and interprets them in the context of Bess as a patron, her resources, influences and motivation. The principal conclusions are that Bess did not invest heavily in creating Hardwick, that she did not create a palace for her royal grand-daughter and, most surprisingly, that she did not seek to build a house for the Cavendish dynasty. Instead, she created a personal monument.
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Hoban, Sally. "The Birmingham Municipal School of Art and opportunities for women's paid work in the Art and Crafts Movement." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5124/.
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This thesis is the first to examine the lives and careers of professional women who were working within the thriving Arts and Crafts Movement in Birmingham in the late nineteenth and early twentieth centuries. It utilises previously unresearched primary and secondary sources in art galleries, the Birmingham School of Art and local studies collections to present a series of case studies of professional women working in the fields of jewellery and metalware, stained glass, painting, book illustration, textiles and illumination. This thesis demonstrates that women made an important, although currently unacknowledged, professional contribution to the Arts and Crafts Movement in the region. It argues that the Executed Design training that the women received at the Birmingham Municipal School of Art (BMSA) was crucial to their success in obtaining highly-skilled paid employment or setting up and running their own business enterprises. The thesis makes an important new contribution to the historiography of The Arts and Crafts Movement; women's work in Britain in the late nineteenth and early twentieth centuries; the history of education and the industrial and artistic history of Birmingham.
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Holroyd, Sophia Jane. "Embroidered rhetoric : the social, religious and political functions of elite women's needlework, c.1560-1630." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/2356/.
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This thesis focuses on the Elizabethan and Jacobean aristocracy and upper gentry to yield the first detailed study of the elite needleworking woman as fashioner of her social personage, and of the objects she produced as indices of social persona, religious conscience and political agency. The first chapter explores how needlework mediates between wtiwomeann d their social context. It surveys the way in which needlework, both as practice and as object, functioned as a vehicle for projecting persona and personage into a social context which interpreted needlework according to complex value systems of personal virtue and the husbandries of conspicuous wealth. The chapter explores needlework as a site for intellectual expression. The theories developed in the first chapter are tested in a case study of Bess of Hardwick, whose textiles show her construction of a virtuous aristocratic persona proclaiming its self-assured place in the social hierarchy. Chapter Two is the first study to consider the needlework of Elizabethan and Jacobean Catholics in the light of the Protestant proscription of iconic vestments. It recovers the history of lost needlework from English convents on the Continent, and of the English recusants' covert provision of vestments to Jesuit missioners. The first detailed case studs' of Helena Wintour's vestments reads Wintour's Jesuit-influenced Marian floral emblems and iconography alongside Hawkins's meditation handbook Partheneia Sacra to theorise Wintour's devotion to the Immaculate Conception, and explores the vestments' relationship to the liturgy and their iconographical importance to the Mass. Chapter Three considers needlework gifts as political currency within patronage structures at the Elizabethan and Jacobean courts. Narrated with a contemporary vocabulary of grace, needlework gifts contribute to the construction of court-crown relations, symbolised by needlework gifts in Jacobean court masques. Through needlework gifts a `feminine commonwealth' availed itself of power structures at the court of James's consort that parallel his departments, and the women's political agency in a female political hierarchy is seen encoded within gifts of needlework in the Queen's Courts final masque. The case study uses Mary's needlework gifts to Elizabeth as an index of changes in their relationship. Mary's needlework joins parallel texts such as poetry, portraiture and planned masques in developing an iconographical vocabulary centring on the Judgement of Paris, with which diplomatic negotiations sought to clarify the Queens' relative positions.
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Callaghan, Angela. "The ceiling of Skelmorlie Aisle : a narrative articulated in paint." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4891/.
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The intention of this thesis was to demonstrate that, with in-depth analysis, a carefully and deliberately constructed narrative could be revealed within the ceiling paintings of Skelmorlie Aisle, Largs, Scotland (c.1638). The ceiling adorned a burial aisle, which was erected by Sir Robert Montgomerie, seventh of Skelmorlie, in honour of his wife, Dame Margaret Douglas. The paintings, executed by Edinburgh apprentice James Stalker, are the only surviving example of the genre signed and dated by the artist. The ceiling was composed of forty-one individual compartments each one containing different combinations of emblems, designs, human figures, animals, birds and heraldic representations. Of the forty-one compartments, four of these contained landscape paintings, depicting the seasons, and their associated labours. Two unusual paintings were also executed each containing representations of a female figure on the land and by the sea. By a study of semiotics, this dissertation systematically re-constructed the narrative concealed within the paintings. This revealed the intrinsic meaning of the iconography. The thesis argued that simple observation revealed very little information relating to the understanding of the paintings and in-depth study was required to elucidate this. The narrative began with an exploration of seventeenth-century nobility with a particular focus on the patron, Sit Robert Montgomerie of Skelmorlie. It then considered the role of architecture and design in Early Modern Scotland with a discussion on domestic architecture and burial aisles. An exploration into the painted ceiling in seventeenth-century Scotland was also included as was a consideration of the role of the artist and patron. A focus on the sources available to artists in Scotland during the Early Modern period, followed with a particular investigation into those used within the ceiling iconography of Skelmorlie Aisle. Whether it was intended that the ceiling iconography was to be read in a specific order was also included. These initial stages provided a platform from which an in-depth analysis of the iconography within the paintings, could be undertaken. The methodology applied here was that composed by German born art historian Erwin Panofsky. Panofsky argued that identifying objects, shapes and forms did not convey why certain components were chosen or what they meant. The first step was to ascertain the genesis of the sources, as this provided a greater understanding of the narrative and why they were chosen by Montgomerie. The research revealed that, with the exception of generic designs of floral patterns and scrollwork, the iconography within the paintings was not chosen at random; each component was selected for a very specific reason. When all of the factors were considered and the iconography analysed in depth, the full narrative became exposed.
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Jouan, de Kervenoael Ronan. "An assessment of sub-regional and regional jurisdictions in economic development policy : the case of tourism policy in France and Great Britain." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324422.
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O'Dell, Sean Michael. "Post-war tourism in the Tendring District and beyond : the rise of the holiday caravan park, c. 1938-1989." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/16419/.
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This study addresses the history of the static holiday caravan site in Britain. Commercial holiday camps, such as Butlin’s and Warner’s, have been seen by many to be the epitome of UK post-war working-class holiday making. But despite some shared characteristics and developmental roots, it is argued that static caravan sites were and are essentially a separate phenomenon, and this study analyses how they quickly became a significant and substantial aspect of post-war domestic tourism. This study also demonstrates that unlike commercial holiday camps, they spawned organically as a result of the agency of the post-war working-class, who were empowered by a growing sense of confidence, assertion and economic security, against the vision of the state-approved holiday camp model. Arising as they did as an affordable and more individualistic alternative (despite strict planning legislation that in its formulation had no concept of their future development), it is shown that static caravan sites continued to develop (with the benefit of key legislation) in a way that was not in many respects typical of other aspects of UK domestic tourism in the second half of the twentieth century, but did reflect wider patterns of working-class consumerism. This study also argues that as a major aspect of domestic tourism, static caravan parks did not follow the well-documented pattern of decline experienced by many domestic resorts and holiday forms, but exhibited a distinct tendency to adapt and change in a way that allowed manufacturers and parks to offer an up-to-date and enticing product in times of economic growth as well as times of recession. This has resulted in the static holiday caravan park becoming a significant aspect of British domestic holiday making.
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Sinan, Tarquin. "Current sculpture and its spaces; a focus on Great-Britain. From conception to reception, a study of the sculptural frame." Doctoral thesis, Universite Libre de Bruxelles, 2019. https://dipot.ulb.ac.be/dspace/bitstream/2013/281855/4/TOC.pdf.
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The present thesis examines the notion of “sculptural frame” through a meticulous analysis of the spatial practices observable in British Sculpture from the 20th and 21st centuries. The sculptural medium having been left out of the theoretical debate surrounding the frame’s artistic definition and application, this study’s aim is to make up for this lacuna by focusing on the interdependent relationship between three essential sculptural elements: the body (of the artist and of the beholder), the object and, of course, space. Beginning with Henry Moore and closing with a side-by-side analysis of Rachel Whiteread and Antony Gormley, this research puts forth two fundamental paradigms developed in the first half of the past century – Landscape and Architecture – which articulate much of sculpture’s spatial evolution on the British Isles. Moore’s generation interpreted Landscape as an ideological frame which served both as the origin and the destination of sculpture. Richard Long’s conceptual generation gave this frame a sense of spatial self-sufficiency by dematerializing art, rendering the frame boundless. Anthony Caro, by adopting an architectonic vernacular, progressively welcomed the beholder’s body into inhabitable frame-like sculptures -- a spatial dialogue continued yet re-envisaged by Gormley and Whiteread, who respectively stimulate and negate the sentient spectator. These paradigmatic evolutions reveal a shift in prism in the ’70s, which goes hand in hand with an increasingly internalized spatial trajectory as sculptors transition from a material focus to a corporal one. Based on these spatial assessments, the present thesis challenges the current understanding of the “dividing frame”, proving it to be inadequate, and proposes – using the studied corpuses as argumentative examples – a novel definition of the sculptural frame as an encompassing one.Doctorat en Histoire, art et archéologie
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Wertz, Julie Hodges. "Turkey red dyeing in late-19th century Glasgow : interpreting the historical process through re-creation and chemical analysis for heritage research and conservation." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8183/.
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The dyed cotton textiles called Turkey red are a significant part of Scotland’s cultural heritage and the legacy of its textile manufacturing industry, and were known for their exceptional colour and fastness to light and wash fading. This thesis is a multi-disciplinary investigation of the chemistry of these unique textiles in the context of 19th c. Scotland using historical material re-creations and modern analytical chemistry, situating the dyeing process in a historical context. This research is a significant contribution toward the continued preservation of historical Turkey red textiles. Through a detailed, chemistry-focused examination of Turkey red methods published in English and French between 1785-1911, the key ingredients and steps for the process from a chemical perspective are identified (Chapter 1). The significance, chemistry, and previous research on the role of the oil (Chapter 2) and dye sources used (Chapter 3) are discussed to form the basis of the material re-creations and analysis. The oil is fundamental to and characteristic of the process, which is also noteworthy for being the first to replace a natural dye source (madder or garancine) with a coal-tar derived analogue (synthetic alizarin). Re-creations of dyed Turkey red, Turkey red oil, oiled calico, and synthetic alizarin provide experiential data and reference materials to test analyses prior to application on historical objects (Chapter 4). The analysis of Turkey red oils by nuclear magnetic resonance (NMR) spectroscopy and high-performance liquid chromatography with mass spectrometry (HPLC-MS) (Chapter 5) provides information used to characterise, for the first time, how the oil and cotton fibres bond to form the basis of the Turkey red complex. This is studied using conservation-based diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS) and attenuated total reflectance Fourier transform infrared spectroscopy (ATR-FTIR) and solid-state NMR (ssNMR) on replica and 19th c. pieces of Turkey red (Chapter 6). Dyes analysis of these samples by ultra high performance liquid chromatography with photodiode array (UHPLC-PDA) identifies chromatographic profiles of textiles dyed with natural or synthetic dye based on synthetic chemical markers. The presence of pigments on printed Turkey red is confirmed by infrared spectroscopy and scanning electron microscope with energy-dispersive X-ray (SEM-EDX) (Chapter 7).
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Campbell, James Stuart. "The alchemical patronage of Sir William Cecil, Lord Burghley : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in History /." ResearchArchive@Victoria e-thesis, 2009. http://hdl.handle.net/10063/1269.
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Wong, Mei-kin Maggie, and 黃美堅. "Collecting and picturing the orient: China's impact on nineteenth-century European Art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2954452X.
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Kent, Max Louis. "The British Enlightenment and the spirit of the industrial revolution the Society for the Encouragement of Arts, Manufactures and Commerce (1754-1815) /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459904541&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Hegenbarth, Carly Louise. "Catholic emancipation and British print cultures, 1821-9." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6857/.
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During the course of the Parliamentary debates about Catholic emancipation in 1829, around 120 original, single sheet prints were published in London on the topic of Catholic Relief, at which point it was almost the sole subject of visual satire. This was the first time in living memory that a debate around toleration and the relationship between temporal and spiritual authority had been conducted on such a wide reaching scale. On 3 February 1829 the King, George IV, the head of the Anglican Church, had introduced Roman Catholic Relief in his speech for the opening of the 1829 Parliamentary session. By 13 April 1829 an Act to grant Roman Catholics civil liberty was given Royal Assent, revoking laws that prevented non-Anglicans from holding public office. This had followed four failed attempts to introduce Catholic Relief in the 1820s which had also prompted satirical image making, but never on the same scale. This thesis analyses for the first time the extensive body of prints produced in 1821-9 that relate to debates around Relief and addresses the questions: why were images produced, why were they predominately single sheet etchings, and who was so interested in Catholic emancipation as to be buying them in such quantities?
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Spooner, Rosemary Gall. "Close encounters : international exhibitions and the material culture of the British Empire, c.1880-1940." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7386/.
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Apparitions of empire and imperial ideologies were deeply embedded in the International Exhibition, a distinct exhibitionary paradigm that came to prominence in the mid-nineteenth century. Exhibitions were platforms for the display of objects, the movement of people, and the dissemination of ideas across and between regions of the British Empire, thereby facilitating contact between its different cultures and societies. This thesis aims to disrupt a dominant understanding of International Exhibitions, which forwards the notion that all exhibitions, irrespective of when or where they were staged, upheld a singular imperial discourse (i.e. Greenhalgh 1988, Rydell 1984). Rather, this thesis suggests International Exhibitions responded to and reflected the unique social, political and economic circumstances in which they took place, functioning as cultural environments in which pressing concerns of the day were worked through. Understood thus, the International Exhibition becomes a space for self-presentation, serving as a stage from which a multitude of interests and identities were constructed, performed and projected. This thesis looks to the visual and material culture of the International Exhibition in order to uncover this more nuanced history, and foregrounds an analysis of the intersections between practices of exhibition-making and identity-making. The primary focus is a set of exhibitions held in Glasgow in the late-1880s and early-1900s, which extends the geographic and temporal boundaries of the existing scholarship. What is more, it looks at representations of Canada at these events, another party whose involvement in the International Exhibition tradition has gone largely unnoticed. Consequently, this thesis is a thematic investigation of the links between a municipality routinely deemed the ‘Second City of the Empire’ and a Dominion settler colony, two types of geographic setting rarely brought into dialogue. It analyses three key elements of the exhibition-making process, exploring how iconographies of ‘quasi-nationhood’ were expressed through an exhibition’s planning and negotiation, its architecture and its displays. This original research framework deliberately cuts across strata that continue to define conceptions of the British Empire, and pushes beyond a conceptual model defined by metropole and colony. Through examining International Exhibitions held in Glasgow in the late-Victorian and Edwardian periods, and visions of Canada in evidence at these events, the goal is to offer a novel intervention into the existing literature concerning the cultural history of empire, one that emphasises fluidity rather than fixity and which muddles the boundaries between centre and periphery.
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Fillis, Ian Ronald. "An examination of the internationalisation process of the smaller craft firm in the United Kingdom and the Republic of Ireland." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/258.
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This thesis involves an examination of the internationalisation process of the smaller craft firm in the United Kingdom and the Republic of Ireland. Sectoral analysis was carried out in order to determine historical precedents as well as the identification of industry and firm level factors impinging upon domestic and export market behaviour. Key findings at this stage included the fact that the majority of craft firms could be classified as small and that they impact economically at both domestic and international level. The majority of existing craft sector research is practitioner specific, with little evidence of theoretical rigour. Following this, a range of internationalisation theories were discussed, from their historical provenance in economic trade theory to the more recent developments concerning the impact of technology and networking. It was concluded that the majority of these frameworks fail to readily explain smaller firm internationalisation behaviour. The research methodology followed was pluralistic in nature, given that the majority of existing internationalisation studies follow the quantitative method and are generally replicative. It was believed that by adopting both quantitative and qualitative methods, a richer amount of data would be obtained in order to generate an improved understanding of smaller firm internationalisation. Research propositions centred on the belief that investigation of the sector would uncover a number of internal and external impinging factors which were specific to the craft firm. Future modelling of the internationalisation process would need to account for situation specific factors, instead of attempting to offer a generic interpretation of the process. Quantitative results identified the majority of firms as microenterprises with trade fairs and networking shown to be the most effective forms of export marketing research and methods of entry into international markets. The main export markets were identified as other European Union countries and North America. The only significant differences among export groups from the five countries surveyed related to the Far East as an export market destination. Qualitative results generally supported the quantitative findings and, in addition, enabled profiling of craft firm types to be carried out. Four orientations were uncovered: the entrepreneur, the idealist, the lifestyler and the latecomer. Exporting behaviour was also found to be affected by the cultural background of the owner/manager. Comparison of the results with existing literature facilitated the construction of frameworks relating to smaller craft firm internationalisation behaviour, performance and success. Interpretation of these factors was found to vary depending on owner/manager orientation. A number of theoretical implications were presented, including the promotion of the belief that the emerging marketing and entrepreneurship paradigm provides additional understanding to smaller craft firm internationalisation. A composite framework of the various factors uncovered in the analysis was constructed. Practical implications include the belief that, instead of support organisations offering generic exporting advice, sector specific information and support is more beneficial to encouraging future exporting success. It was recognised that future comparative research examining internationalisation behaviour of craft firms of various sizes, as well as assessing consumption issues relating to the craft product, would prove valuable in additional knowledge contribution.
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Williams, Vivien Estelle. "The cultural history of the bagpipe in Britain, 1680-1840." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/5085/.
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Bagpipes and pipers, as cultural identifiers, are embedded within their national culture, charged with symbolisms. British authors have often viewed bagpipes as cultural icons, endowing them with connotations from devilish to virtuous, from rural to military. By analysing literary and artistic references one can perceive how the attitude towards the bagpipe changes with the evolution of Britain’s internal dynamics. Jacobitism contributed in casting a particular light on the bagpipe: it was the ‘voice of the rebellion’. In Scotland this constituted a reason for national pride, while in England the ‘common denominator’ of the Scot-enemy charged the bagpipe with the worst connotations. After Jacobitism stopped being seen as a threat, authors and artists came to view the bagpipe in a different light: the once negative icon was now imbued with ancestral values. The Scot – and the bagpipe by synecdoche – was romanticised: as James Boswell wrote, “The very Highland names, or the sound of a bagpipe, will stir my blood, and fill me with [...] a crowd of sensations with which sober rationality has nothing to do” (1785). The words of many Romantic authors contributed in characterising the instrument, endowing it with implications the influence of which is still relevant today.
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Retford, Kate. "Family and familiarity : the domestic sphere in eighteenth-century English visual culture." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/54814/.
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This thesis analyses eighteenth-century portraiture within the context of 'norms' propagated in contemporary prescriptive and fictional literature, 'norms' which overlay a heterogeneous reality. The aspirant portraitist had to accord with the desire of sitters to be depicted in a manner that would receive approbation. Thus, disparate relationships were pictorially subsumed within affectionate ideals that burgeoned in the mid eighteenth century, stimulated by the cult of sensibility and disseminated through an expanding body of literature to an expanding readership. However, these did not displace more 'traditional' concerns, but appeared alongside continuing pictorial emphases on patriarchy, hierarchy and dynastic continuity. The introduction outlines the historiography and methodology and provides a detailed summary of each chapter. Chapter one examines the emergence of the companionate marital portrait, together with pictorial condemnations of arranged and romantic unions. Chapter two argues that this new emphasis on affection did not displace patriarchy. Pendants continued to demarcate masculine and feminine domains whilst double portraits emphasised those domains as complementary, but unequal. Chapter three discusses the pictorial and literary sentimentalisation of motherhood and argues that condemnations of female display were acknowledged in portraits of engrossed and self-effacing mothers. Chapter four counters that the sentimentalisation of the patriarch was limited by a continuing preoccupation with his pre-eminence and that later images of playful children maintained earlier concerns with age and gender hierarchies and 'futurity'. Chapter five argues that both an emphasis on heirs and anxiety over the implications of high infant mortality for dynastic succession remained constant. The contextualisation of portraits within the home also reveals an emphasis on unbroken lineage. Chapter six examines satires of transgressions of ideal familial relations by members of a supposedly debauched aristocracy. However, these aristocrats sometimes countered such attacks with portraits emphasising status and domestic virtue. The conclusion summarises the arguments and discusses their implications for debates over class.
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MacLeod, Anne Margaret. "The idea of antiquity in visual images of the Highlands and Islands c.1700-1880." Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/1085/.
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This thesis addresses the textual bias inherent in the historiography by exploring the value of visual images as a source of evidence for cultural perceptions of the Gàidhealtachd. Visual images stood at the sharp end of the means by which stereotypes were forged and sustained. In part, this was a direct result of the special role afforded to the image in the cultural and intellectual climate of Enlightenment and post-Enlightenment Europe. This thesis looks at the evolution of visual interest in the Highlands and Islands on two fronts, documentary and aesthetic, and pays particular attention to the way in which the two main functions of the image in society came to be intertwined. This thesis argues that the concept of antiquity was the single most powerful influence driving the visual representation of the Highlands and Islands during a long period from c. 1700 to around 1880, and indeed into the twentieth century. If something could be regarded as ancient, aboriginal, dead, or even dying, it acquired both documentary and aesthetic value. This applied to actual antiquities, to customs and manners perceived as indigenous and ‘traditional’ to the region, and, ultimately, even to the physical landscape. Successive chapters explore what might now be classified as the archaeological, ethnological and geological motives for visualising the Highlands and Islands, and the bias in favour of antiquity which resulted from the spread of intellectual influences into the fine arts. The shadow of time which hallmarked visual representations of the region resulted in a preservationist mentality which has had powerful repercussions down to the present day. The body of evidence considered – which embraces maps, plans, paintings, drawings, sketches and printed images by both professionals and amateurs – must be viewed as a rich and valuable companion to the written word.
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Walcot, Clare. "Figuring finance : London's new financial world and the iconography of speculation, circa 1689-1763." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/50710/.
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This thesis examines the ways in which the new financial world of early eighteenth-century London was interpreted, understood and represented through visual forms. The focus of the thesis is on the years between circa 1689 and 1763; that is from the Nine Years War, when deficit finance was first established, until the end of the Seven Years War, by which point its existence was more broadly accepted. It argues that these financial innovations had a determining impact upon the production of visual imagery, especially that produced by the London print market, and that images themselves were instrumental in the debates generated by an increasingly speculative financial world. Following an introduction establishing the aims, methods and scope of the thesis, the chapters take the form of a series of thematic studies chosen to address key issues and images. Chapter one examines the depiction of the Royal Exchange and Exchange Alley in a range of polite topographical prints and graphic satires. This allows for an overview of desirable and disreputable representations of commercial conduct. Chapter two takes as its theme the early years of the Bank of England, East India Company and South Sea Company as principal government creditors. It looks at their rivalry for a position in public finance and the image each company promoted through the premises they built between 1725 and 1734. The third chapter considers the establishment of the national debt and its early management. Graphic satires feature prominently in effecting visual retribution on those suspected of financial misconduct. In Chapter four the state lottery is examined as a form of generating revenue directly from the public and considers the part played by graphic products in questioning this government-sanctioned speculation. The fifth chapter is concerned with the representation of gaming and examines the ways in which it might be adapted to signify both virtuous and inappropriate economic conduct. The concluding chapter focuses on the response of the print market and the press to the turnaround in fortunes in the Seven Years War and how they register an apparent acceptance of the new financial institutions and developments of the preceding half-century.
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Jones, Victoria Grace. "Murky waters : the representation of negative and subversive actualities of the Royal Navy during the French wars 1793-1815." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5494/.
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This thesis explores the representation of negative and subversive aspects of the Royal Navy and its seamen during the French Wars, 1793-1815, in contemporary print culture. Visual analysis, supported by archival research, is used to show that evasion and exaggeration were key in the representation of such subjects. The figure of Jack Tar (the common seaman) and the facets of his service referenced in works on paper are investigated as constructs. It is argued that such historical documents confirmed and perpetuated misconceptions informed by dominant expectations, values and concerns. Such depictions, often satirical, are indicative of broader material and ideological contexts. Issues collectively and individually salient for Britons’ and naval seamen are shown to have included those of identity, liberty, state power, subordination, morality and sacrifice. These are revealed to be central to the construction of the notorious naval tar by printmakers, audiences, writers, publishers, politicians, officers, seamen themselves and even historians. In a chronological narrative from recruitment to cessation of service, the thesis explores the experiences of this infamous naval character through his contemporary representation.
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Chiarodo, Nicole M. "From Behind Closed Doors to the Campaign Trail: Race and Immigration in British Party Politics, 1945-1965." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002660.
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Agostini, Daniele. "Promoting Outdoor Cultural Heritage Education with Mobile Mixed-Reality Learning Tools : Two Case Studies in Italy and Great Britain." Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H054.
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Le doctorat étudie l'impact des nouvelles technologies sur la transmission et la promotion du patrimoine culturel sur les élèves des écoles primaires afin de démontrer l’importance d’une pensée éducative qui allie ‘histoire’, culture visuelle et 'technologie'. Deux études de cas à partir de deux « corpus » distincts ont permis de conduire deux expérimentations in situ : l’architecture antique en Italie à Vérone et le jardin paysager du XVIIIe siècle en Angleterre à Hestercombe. La cotutelleété encadrée par un spécialiste italien du story-telling éducatif en réalité augmentée (Prof. Corrado Petrucco, Padoue) et un spécialiste français des jardins et du paysage dans la culture britannique des Lumières (Prof.Laurent Châtel, Lille). Il ressort de l’étude que l’apprentissage par réalité mixte mobile (Augmented and mixed Reality Mobile Learning) est particulièrement pertinent.L'apprentissage mobile est né dans les années 80 lorsque l'ordinateur portable (sommet de la technologie de l'époque) a été introduit dans la classe sur une base expérimentale. Puis sa popularité est venue à la fin des années 90 grâce à des programmes éducatifs expérimentaux pour explorer le potentiel éducatif du PDA (Personal Digital Assistant). Depuis le milieu des années 90, on a pu identifier trois principales phases de l'apprentissage mobile, qui ont trois approches paradigmatiques différentes : les outils, l'apprentissage en dehors de la salle de classe, la mobilité des étudiants. Le rôle de l'enseignant devient plus fondamental encore : l’utilisation d’une application sur tablette ne vise pas à remplacer la guide ou l’éducateur culturel, mais à compléter et à enrichir la visite. Du point de vue pédagogique,l'accent sera mis sur une approche constructiviste de l'enseignement et l'apprentissage qui va stimuler les étudiants à devenir des citoyens actifs, bien conscients de leur identité historique : en tant que personnes informées et responsables, elles sont en meilleure mesure de préserver leur patrimoine. Danssa publication " Cultural Heritage Counts for Europe (CHCfE) Vers un indice européen pour le patrimoine culturel", le Conseil de l'UE des ministres européens considère le patrimoine comme une "ressource stratégique pour une Europe durable" et une source importante de créativité et d'innovation, qui génère de nouvelles solutions aux problèmes, tout en créant des services innovants - allant de la numérisation des biens culturels à l'utilisation de la technologie de la réalité virtuelle de pointe - dans le but d'interpréter les espaces et les bâtiments historiques et les rendre accessibles aux citoyens et aux visiteursThe thesis studies the impact of new technology on the transmission and promotionof heritage on primary school pupils in order to demonstrate the importance of an alliance between history, visual culture and technology. Two case studies with two distinct types of corpus generated two experiments in situ: ancient architecture in Verona (Italy) and eighteenth-century landscape garden at Hestercombe (Britain). Verona and Hestercombe are two sides of the same patrimonial coin. The cosupervisionwas done under a specialist in digital storytelling of history, Corrado Petrucco (Un. of Padua) and one in eighteenth-century garden and landscape history, Laurent Châtel (Un. of Lille).Mobile Learning began in the 80’s when portable computers (the “in-thing” in those days) where first introduced into the classroom on an experimental basis being a genuine take-off in the late 1990’s thanks to experimental educational programs aimed to explore the didactic potential of PDAs (Personal Digital Assistant). From the mid-’90s to today, three different phases can be pinned down: a tool-focused phase, extra-mural learning, and an emphasis on student mobility. What this study shows is that the teacher’s role is of fundamental importance. The learning process is on-site, situated and enhanced by AR tools and devices (which are equipped with an ‘app’ developed specifically for this project): the ‘app’ is however not intended to replace the guide or the cultural educator, but to be complimentary and to enrich his/her route. In its documents such as “Cultural Heritage Counts for Europe (CHCfE). Towards a European Index for Cultural Heritage" the EU Council of European Ministers recognized heritage as a "strategic resource for a 'sustainable Europe" and a source of benefits – a source of creativity and innovation, generating new solutions to problems. This thesis shows why and how heritage education when augmented via technology improves the interpretation of historic environments and buildings and also makes them accessible to citizens and visitors
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Webb, Jane Alexandra. "An analysis of the Select Committee on Arts and Manufactures of 1835-6 : anatomy, Benthamism and design." Thesis, University of Wolverhampton, 2003. http://hdl.handle.net/2436/89095.
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Smith, Elisabeth Margaret. "To walk upon the grass : the impact of the University of St Andrews' Lady Literate in Arts, 1877-1892." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5570.
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In 1877 the University of St Andrews initiated a unique qualification, the Lady Literate in Arts, which came into existence initially as the LA, the Literate in Arts, a higher certificate available to women only. Awarded by examination but as a result of a programme of distance learning, it was conceived and explicitly promoted as a degree-level qualification at a time when women had no access to matriculation at Scottish universities and little anywhere in the United Kingdom. From small beginnings it expanded both in numbers of candidates and in spread of subjects and it lasted until the early 1930s by which time over 36,000 examinations had been taken and more than 5,000 women had completed the course. The scheme had emerged in response to various needs and external pressures which shaped its character. The purpose of this thesis is to assess the nature and achievements of the LLA in its first fifteen years and to establish its place within the wider movement for female equality of status and opportunity which developed in the later decades of the nineteenth century. The conditions under which the university introduced the LLA, its reasons for doing so, the nature of the qualification, its progress and development in the years before 1892 when women were admitted to Scottish universities as undergraduates and the consequences for the university itself are all examined in detail. The geographical and social origins and the educational backgrounds of the candidates themselves are analysed along with their age structure, their uptake of LLA subjects and the completion rates for the award. All of these are considered against the background of the students' later careers and life experiences. This thesis aims to discover the extent to which the LLA was influential in shaping the lives of its participants and in advancing the broader case for female higher education. It seeks to establish for the first time the contribution that St Andrews LLA women made to society at large and to the wider movement for female emancipation.
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Maxwell, Christopher Luke. "The dispersal of the Hamilton Palace collection." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5197/.
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By the penultimate decade of the nineteenth century, the Dukes of Hamilton, premier peers of Scotland, had amassed a superb collection of fine and decorative art. This outstanding collection was dispersed in two series of sales in 1882 and 1919, and the family’s principal seat, Hamilton Palace, ten miles south of Glasgow, was demolished in the 1920s and ′30s. Many of the most significant items are now in the great museums, galleries and libraries of the world or in important private collections. This study will begin by identifying the causes of the 12th Duke of Hamilton’s financial difficulties and the chain of events leading to the dispersal of the collection, with a comparative analysis on the backgrounds of the earlier enforced sales of Fonthill Abbey (1822), Wanstead House (1822), Strawberry Hill (1842), and Stowe (1848). It will continue with a thorough investigation of selected principal beneficiaries, what they acquired and why. These will include Christopher Beckett Denison; various members of the Rothschild family; William Dodge James; the 5th Earl of Rosebery; Sir Michael Shaw-Stewart; and the 5th Earl of Carysfort. A survey of the records of certain national museums and galleries will establish the involvement of the museum sector in the dispersal of the collection, with a review of these institutions’ acquisitions. Finally, this study will consider the extent to which North American collectors benefited from the sales through the international art trade between 1880 and 1930, culminating in an account of the purchase of the Hamilton Palace interiors by the New York dealers, French & Co., and their subsequent acquisition by the newspaper magnate and collector William Randolph Hearst. This research will add a new perspective to the understanding of the break-up of this renowned collection, and of the loss to Scotland’s material culture and heritage. It will contribute to current scholarship on nineteenth-century house sales and increase current knowledge of the socio-economic causes and effects of such events. The question of who benefited from the Hamilton Palace sales will be a new and original area of research within History of Collecting studies, contributing to a fuller appreciation of British collecting between 1880 and 1930 and of the international art trade and market from 1880 to the present day.
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Schrefer, Justin P. "Path Dependencies and Unintended Consequences: A Case Study of Britain's Entry into the European Community." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001543.
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McIntyre, Edward Forrester. "Implementation of national vocational qualifications in the UK utilizing Birmingham College of Food, Tourism and Creative Studies as a systems model /." Online version of thesis, 1992. http://hdl.handle.net/1850/10862.
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Shaw, Michael. "The fin-de-siècle Scots Renascence : the roles of decadence in the development of Scottish cultural nationalism, c.1880-1914." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6395/.
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This thesis offers a cultural history of the Scots Renascence, a revival of Scottish identity and culture between 1880 and 1914, and demonstrates how heavily Scottish cultural nationalism in this period drew from, and was defined by, fin-de-siècle Decadence. Few cultural historians have taken the notion of a Scots Renascence seriously and many literary critics have styled the period as low point in the health of Scottish culture – a narrative which is deeply flawed. Others have portrayed Decadence as antithetical to nationalism (and to Scotland itself). The thesis challenges these characterisations and argues that there was a revival of Scottish identity in the period which drew from, and contributed to, Decadent critiques of 'civilisation' and 'progress'. The thesis considers literature alongside visual art, which were so interdependent around the 1890s. It focuses on three main cultural groups in Scotland (the circle that surrounded Patrick Geddes, the Glasgow School and writers of the Scottish Romance Revival) but it speaks to an even wider cultural trend. Together, the various figures treated here formed a loose movement concerned with reviving Scottish identity by returning to the past and challenging notions of improvement, utilitarianism and stadialism. The first chapter considers the cultural and historical background to the Scots Renascence and reveals how the writings of the Scottish Romance Revival critiqued stadialist narratives in order to lay the ground for a more unified national self. The second chapter demonstrates how important japonisme and the Belgian cultural revival were to the Scots Renascence: Scottish cultural nationalists looked to Japan and Belgium, amongst other nations, to gain inspiration and form a particular counter- hegemony. The final three chapters of the thesis explore how a unifying myth of origin was developed through neo-Paganism, how connections to an ancestral self were activated through occultism, and how such ideas of mythic origin and continuation were disseminated to wide audiences through pageantry. In doing so, the thesis charts the origins, development and dissemination of the Scots Renascence, while situating it within its historical and international contexts.
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Parker, Angela. "The History and Educational Legacy of the Manchester Art Museum, 1886-1898." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/623.
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This thesis examines the history of the Manchester Art Museum (Manchester, England), which was founded by Thomas Coglan Horsfall (1841-1932) in 1886. It considers the museum’s permanent collections and its programming from 1886 to 1898 with brief notes on the later years of the institution. While, like previous work on the Manchester Art Museum, the thesis contextualizes the museum within Victorian arts and community institutions, it breaks new ground by highlighting the ways in which it diverged from these institutions. The analysis of the museum’s collections and programming emphasizes the contributions that Horsfall and the Art Museum Committee made to museum education through the museum’s circulating loan collections and school tours.
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Brown, Ian. "History as theatrical metaphor : history, myth and national identities in modern Scottish drama." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30714/.
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The completion of History as Theatrical Metaphor, now submitted for consideration for the award of the degree of Doctor of Letters, represents an integration and culmination of a number of related strands arising from both my practice as a playwright over the last five decades and my relevant academic research. Susanne Kries has summarised a key approach underlying my writing of history plays as ‘deconstructing the ideological intent behind the very endeavour of writing history and of revealing the ways by which mythologies are formed’. Much of my related academic research shares this interest. A recurring theme of both playwriting and scholarly writing, central to the work submitted, is the significance of the interaction of drama, language – especially Scots and English – and history. The initial phase in exploring such themes was in my developing professional playwriting practice. In 1967, I wrote the first draft of Mary, eventually produced by the Royal Lyceum Theatre Company in 1977. In this first version I sought to address the theme of the life of Mary, Queen of Scots, but in a revisionary way. The play’s first acts, before Mary arrives on stage, involved an unlikely affair between Mary of Guise, Queen Regent in Mary’s absence in France, and her Secretary of State, Maitland of Lethington, conceived as a cross between a Chief Minister and a Mafia consigliere, a relationship in which Mary of Guise achieved some form of Lawrentian ‘authentic’ sexual release and self-fulfilment through her relationship with a powerful Scots leader. This motif was developed when Mary arrived and proceeded to fall under the magnetic spell of the even more Lawrentian Bothwell, a transformation of her sexuality and identity marked by the fact that about half way through her scenes she stopped speaking in French-inflected English and started to speak in Scots. The play’s tendentiousness was further marked by its being written in Scots-language free verse. The decision to write in Scots was consciously, if superficially, ideological. It sought to reflect the vibrant language amongst which I grew up on a council scheme, although in my home the dominant language was Standard Scottish English. I also sought to take a revisionary view of Scottish history, seeking to avoid what I saw as the sentimentalisation of that history in plays by an older generation like that of Robert McLellan. What I was concerned to do was later outlined explicitly by Tom McGrath in a 1984 interview, talking of his own practice: I suppose at that time we were coming up with a different ideology. We were coming up with a different approach after all that work, work that had been done [by writers like MacDiarmid and McLellan] in Scots language. We were coming up with this street level sound of existentialist man in the street, "black man in the ghetto" type of writing. It just upset the applecart. (Later I would develop a contextual interpretation of the shift McGrath refers to, and which I sought to be part of, in arguing that the use of Scots on stage was key to supporting and enhancing the cultural prestige of Scots in the 2011 chapter, ‘Drama as a Means for Uphaudin Leid Communities’. This – in a continuing conscious intention to assert the potential and status of Scots – while academic in content, was written entirely in Scots.) In short, from the beginning of my professional playwriting, a key strand was experiment in and exploration of the relationship of drama, Scots language, community identity and history, particularly the interrogation of accepted versions of ‘history’. The first draft of Mary came by the early 1970s to seem to me to be unsatisfactory in its exploration of the interaction of drama, language and history. By then, it appeared in its sensationalist version of Scottish history to have fallen into a parallel trap to the earlier one of a sentimental and romanticised view of that history. It certainly had moved away from conventional treatments of Scotland’s past, but was rather tending to a simplistic dramatic interpretation pour épater les bourgeois. Indeed, its attempts at sexual directness made it unacceptable at that time, 1968-69, to the management of the Royal Lyceum. While its Literary Manager Alan Brown spoke positively of the play, he still felt the company could not present it. Within very few years my own view came to be that, while it might substitute a certain late-adolescent Scots-language raunchiness for earlier playwrights’ Scots-language sentimentalities, it was itself somewhat naïve and sentimental. Further, the use of Scots in a free verse form, rather than adding anything to the dramatic potential of Scots language, seemed to remove it from the everyday discourse which inspired me to use it in the first place. This change of critical perspective and creative intention arose from two related developments in my dramaturgy. One was the impact of a variety of late 1960s theatrical experiments which impressed me in dealing with historical and political material in a post-Shavian and post-Brechtian way. These included the 1964 film version of Peter Brook's production of Peter Weiss's Marat/Sade, which I saw in 1968, John Spurling's MacRune's Guevara (1969) and Peter Nichols's The National Health (1969) in the programme of the National Theatre in London, New York’s Negro Ensemble Company's version of Peter Weiss's The Song of the Lusitanian Bogey, which is concerned with Portuguese colonial exploitation, presented in the 1969 London World Theatre Season, and John Arden and Margaretta D'Arcy's version of Horatio Nelson’s life and reputation, The Hero Rises Up, presented by Nottingham Playhouse at the 1969 Edinburgh Festival. I was further impressed by the theatrical techniques of the New York-based LaMama troupe, by its version of Paul Foster's Tom Paine (1967) and the popularised and commercialised exploitation of those techniques in Hair (1967). I had also read Foster's Heimskringla! Or The Stoned Angels (1970), written for LaMama and derived from Norse sagas. All employed varying metatheatrical techniques to deconstruct received versions of history and politics which extended my own understanding of what was creatively possible. The second development was that, as those plays affected my understanding of theatrical possibilities in exploring historically based themes, I was researching and beginning to draft my next play on a historical theme. This explored the life, business ethics and politics of Andrew Carnegie. On top of all of this, at this time, having showed Max Stafford-Clark, Artistic Director of the Traverse Theatre, a first draft of Carnegie, begun during the autumn of 1969, I was invited by him to work, in my first professional theatre role, as a writing assistant on the first Traverse Workshop Theatre Company production, Mother Earth (1970), directed by Stafford-Clark when he ceased to be director of the Traverse itself. With his new company, he was developing the deconstructionist and improvisational rehearsal techniques that would later be more widely thought of as the creative method of his Joint Stock Theatre Company, into which the Traverse Workshop Company morphed in 1974. The dramaturgical lessons learned from the examples cited above and by working with such a creative and methodologically innovative director as Stafford-Clark were allied to my own quizzical view of Carnegie’s reputation. This was partly derived from the fact that my great-grandfather was a first cousin of Carnegie’s. There were family stories which, if they did not fully undermine his philanthropic reputation, suggested there were other sides to his career.
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Glenn, Victoria. "Comparative Roles in the European Union: France, Germany, and the United Kingdom." Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/757.
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Arts and Sciences
Political Science
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Searle, Rebecca K. "Art, propaganda and the experience of aerial warfare in Britain during the Second World War." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6919/.
Full textAbstract:
This thesis examines how artists working for the War Artists' Advisory Committee (WAAC) represented aerial warfare. In contrast to the scholarly attention lavished on wartime films and posters, official war art remains a much neglected aspect of the propaganda war. The few studies that do exist, most notably by Brian Foss, survey the collection as a whole and consider it from an art history perspective. By focusing on the single theme of aviation, a central and defining experience of the Second World War, I embed the WAAC within the economic, social, military and cultural histories of the period and locate it within a longer time frame. Through bringing these usually disparate fields of study into dialogue, I am able to use the art to enrich broader understandings of the period, in particular, the ways in which aerial warfare was represented, how this image evolved during the war and how these cultural products related to economic, military and social factors. This thesis highlights the different roles the WAAC was expected to fulfil. Housed within the Ministry of Information, the WAAC was expected to perform a propagandist function. The committee distanced itself from propaganda and insisted that its primary function was to record for posterity the experience of living through the war. I assess exactly what kind of record the WAAC bequeathed by looking thematically at the key aspects of aerial warfare: aircraft production; the Battle of Britain; the Blitz and the bombing of Germany. I argue that whilst there was broad correlation between war art and propaganda, these images registered aspects of experience that were incongruent with and therefore absent from wartime propaganda, such as the fear of aerial bombardment and the true nature of the bombing of Germany. Moreover, propagandist constructions were not entirely separate to lived experience, rather they both reflected experience and shaped the way that individuals understood and made sense of the world around them. Therefore, in producing images that accorded with propagandist portrayals, the WAAC artists were recording a fundamental part of the experience of living through the war.
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Wan, Connie. "Samuel Lines and sons : rediscovering Birmingham's artistic dynasty 1794-1898 through works on paper at the Royal Birmingham Society of Artists : Volume 1, Text ; Volume 2, Catalogue ; Volume 3, Illustrations." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3645/.
Full textAbstract:
This thesis is the first academic study of nineteenth-century artist and drawing master Samuel Lines (1778-1863) and his five sons: Henry Harris Lines (1800-1889), William Rostill Lines (1802-1846), Samuel Rostill Lines (1804-1833), Edward Ashcroft Lines (1807-1875) and Frederick Thomas Lines (1809-1898). The thesis, with its catalogue, has been a result of a collaborative study focusing on a collection of works on paper by the sons of Samuel Lines, from the Permanent Collection of the Royal Birmingham Society of Artists (RBSA). Both the thesis and catalogue aim to re-instate the family’s position as one of Birmingham’s most prominent and distinguished artistic dynasties. The thesis is divided into three chapters and includes a complete and comprehensive catalogue of 56 works on paper by the Lines family in the RBSA Permanent Collection. The catalogue also includes discursive information on the family’s careers otherwise not mentioned in the main thesis itself. The first chapter explores the family’s role in the establishment of the Birmingham Society of Arts (later the RBSA). It also explores the influence of art institutions and industry on the production of the fine and manufactured arts in Birmingham during the nineteenth century. The second chapter discusses the Lines family’s landscape imagery, in relation to prevailing landscape aesthetics and the physically changing landscape of the Midlands. Henry Harris Lines is the main focus of the last chapter which reveals the extent of his skills as archaeologist, antiquarian and artist.
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James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.
Full textAbstract:
This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.Doctor of Philosophy (PhD)
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Doroszenko, Rebekah. "Improvement and the Scottish rural estate : Sir Archibald Grant at Monymusk, 1715-1778." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6865/.
Full textAbstract:
The purpose of this study is ultimately to analyze the influence of cultural attitudes on the treatment of the Scottish estate in the first half of the 18th century (c.1715 – c.1776), making particular reference to the ideology of improvement, through the use of Sir Archibald Grant of Monymusk as a case study. Grant’s improvement of his estate is not understood as literally agricultural or economic development alone, but as a complex ideological commitment to the transformation of land, landscape and society. Whilst Grant of Monymusk has been discussed with reference to economic improvement, the relationship between his role as a publically acknowledged improver and his patronage of art and architecture, as well as his attempts at publication, has not been subject to similar interest. This thesis uses an innovative interdisciplinary approach which draws on archaeological as well as art historical methodologies. It discusses a wider range of estate commissions, in particular Grant’s patronage of the portrait artists John Smibert and William Robertson, the poet John Ogilvie, his commission of the architectural surveyors Alexander Jaffray and Robert Robinson, as well as his work to construct planned villages at Kirktown of Monymusk and Archiestown. The thesis attempts to place these commissions within the context of recent studies of improvement which emphasize its role as an ideology with cultural implications. The use of an individual case study allows for a more in depth discussion of specific reactions to historical and ideological change, providing a narrative of a specific site and thus creating an individual response towards broader cultural and scientific developments.
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James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.
Full textAbstract:
Thesis (Ph.D.) -- University of Western Sydney, 2003."A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.