Dissertations / Theses on the topic 'Women's art and craft'
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Morton, Jennifer Heather. "Desert voices, pitjantjatjara women's art and craft production in Ernabella, South Australia." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22544.pdf.
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Wood, Susan, and s2000093@student rmit edu au. "Creative embroidery in New South Wales, 1960 - 1975." RMIT University. Architecture and Design, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070206.160246.
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In the years between 1960 and 1975 in NSW there emerged a loosely connected network of women interested in modern or creative embroidery. The Embroiderers' Guild of NSW served as a focus for many of these women, providing opportunities for them to exhibit their work, and to engage in embroidery education as teachers or as learners. Others worked independently, exhibited in commercial galleries and endeavoured to establish reputations as professional artists. Some of these women were trained artists and wanted embroidery to be seen as 'art'; others were enthusiastic amateurs, engaged in embroidery as a form of 'serious leisure'. They played a significant role in the development of creative embroidery and textile art in NSW and yet, for the most part, their story is absent from the narratives of Australian art and craft history. These women were involved in a network of interactions which displayed many of the characteristics of more organised art worlds, as posite d by sociologist Howard Becker. They produced work according to shared conventions, they established co-operative links with each other and with other organisations, they organised educational opportunities to encourage others to take up creative embroidery and they mounted exhibitions to facilitate engagement with a public audience. Although their absence from the literature suggests that they operated in isolation, my research indicates that there were many points of contact between the embroidery world, the broader craft world and the fine art community in NSW. This thesis examines the context in which creative embroiderers worked, discusses the careers of key individuals working at this time, explores the interactions between them, and evaluates the influence that they had on later practice in embroidery and textiles in NSW.
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Mahlaba, Siphelele Nadia, and K. D. Ige. "Economic development and women empowerment in Zamimpilo art and craft co-operative." Thesis, University of Zululand, 2018. http://hdl.handle.net/10530/1849.
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Theses Submitted to the Department of Sociology in fulfilment of the requirements for the Master’s Degree in Sociology in the Faculty of Arts at the University of Zululand, 2018.Development agencies, non-government Organizations (NGOs) and government organizations around the world aim for the betterment of women in all spheres of their lives. Empowerment has been considered the main focal point towards the achievement of the wellbeing of women. The study was about cooperatives and women empowerment. It investigated the extent to which participation, empowerment, capacitation and benefits of membership contribute in enabling cooperatives to empower women. This study applied the Capability Approach (CA) in an attempt to understand the need and importance of capabilities to women in a cooperative. The quality of life of an individual is analysed in terms of the core concepts of functionings and capability, thus the CA focuses directly on the quality of life that individuals are actually able to achieve. The Capability Approach proposed that the most vital thing to deliberate when valuing well-being is what people are actually able to do. Capacitation to disadvantaged people is very important in that it ensures services and assistants directly meet their needs. Participatory planning can be regarded as an instrument for identifying the needs of all persons within a community, a way of constructing harmony, and means of empowering deprived or marginalised groups. Participatory development has created the need that there should be inclusion of everyone concerned in the decision making that enables the utilization of all ideas and experiences especially of the poor in rural communities and that they should have influence in the decision making process. The study hypothesized that the perceived level of participation; empowerment and capacitation will determine the benefit of membership in a cooperative. The survey was conducted using a Five-Level Likert scale to decipher respondents’ perceptions of level of participation, empowerment, capacitation, and perceived benefits. In the beginning of analysis, responses (N=110) were reduced using Principal Components Analysis (PCA) to determine how questionnaire items contributed to variables under consideration, variables extracted were correlated and regressed. A linear regression analysis was used to describe how a benefit of membership mediates the relationship between participation, empowerment and capacitation. iii The results showed that members’ perceived levels of empowerment mediate their Perceived Benefits of membership (PERBEME). This shows how benefits of membership in a cooperative are determined and empowerment experienced. Cooperatives have a potential of empowering women and that is achieved through democratic operation, where members equally participate in the daily business. The findings showed a correlation between independent and dependent variables. The findings further demonstrated that capacitation, empowerment and participation, influence change on the benefits of membership in a co-operative.
National Research Foundation (NRF)
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Lee, Ruth Lorna, and mikewood@deakin edu au. "Our fingers were never idle: Women and domestic craft in the Geelong region, 1900-1960." Deakin University, 1993. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.122114.
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This thesis is an exploration of women's domestic crafts in the Geelong region, between 1900 and I960, Through analysing oral testimony and the women's handicraft artefacts, the nature of the domestic production of handicrafts and the meanings the makers have constructed around their creations and their lives is illuminated. The thesis is organised around the themes of work, space, the construction of femininity, memory, time and meaning.
The thesis argues that until recently, the discipline of history has privileged the experiences of men over those of women. It challenges the trivialising of womens handicrafts. It also argues that within the restrictive social structures around them and within the confined nature of their situations, the women of my study asserted themselves to transform their environments and to improve their situations through labour in the home. In making do, recycling materials and creating functional and decorative needlework items for their homes and families, the women were often finding solutions to pressing practical and economic problems. Doing handicrafts was rarely just a passive way of filling in time.
Rather, making and creating was for these women a multi-layered activity that similtaneously fulfilled a complex range of needs for themselves and their families. A multiplicity of deeply personal, aesthetic, familial, social, practical and economic needs were met in the making of domestic craft artefacts, whose symbolism reflected the values and meanings of the women's cultures, homes and families.
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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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Offensend, Elizabeth Gillette. "Crafting a Space: A Feminist Analysis of the Relationship Between Women, Craft, Business and Technology on Etsy.com." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/892.
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In recent years, craft fairs, shows and markets where crafters sell their handmade goods such as pottery, jewelry, handmade clothes and needlework have grown in popularity across the United States. A common intent among individuals in this community echo political statements made by the turn of the century Arts and Crafts movement, while there are political aspects of the community that can also be seen as an extension of the third wave feminist do-it-yourself (DIY) ethic of the late 1990s. This newly enlarged community of crafters that congregates in person also has a strong online presence. Etsy.com plays a large role in this community. The introduction of websites such as Etsy.com to the communities they serve has widespread impacts. The aim of this study is to analyze how Etsy.com impacts the lives of women who use the website to earn income. Following ethnographic traditions, the researcher interviewed five community members. The focus was on thick description of the DIY community and thematization of interview narratives. To meet participant observation criteria, the researcher also volunteered at the Independent Publishing Resource Center (IPRC) in Portland, Oregon for 4 months. Additionally, the researcher conducted a textual analysis of blogs, websites, artwork, and other sources of data collected from the online hand crafting community. The study presents and discusses the themes that emerged from the data, including women's work, feminism and technology, the crafters' political statements, the crafters as owners of legitimate businesses, and Etsy.com's impact on local economy. The results paint a picture of the community (both on and offline) and how Etsy.com helps to shape this. The researcher then discusses how to assess the impacts tools such as community websites will have on the communities they serve.
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Shinko, Kathryn A. "Vignettes." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429884060.
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Wilson, Elizabeth Danielle. "I Want a Man Who: Desires, Wishes, Ideals, and Expectations in Women’s Online Personal Ads." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284691475.
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Hein, Dawn Michelle. "The art and craft of the interior." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1209805.
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This thesis gives a voice to the call for a holistic approach to the preservation of commercial and particularly domestic architecture. Interior architecture is an important piece of the whole in need of consideration. Arts and Crafts interiors in the state of Indiana are considered in reference to this fact and the case studies chosen exemplify the connection between cultural history and the interior architecture and design.The Arts and Crafts Movement's philosophy worked to integrate the entire design with the surrounding site. The interior was the focus of the synthesized design and it is this emphasis that must be captured. The Midwest played an important role in the development of the Arts and Crafts Movement and central Indiana's interior residential architecture gives evidence to the movement's influential philosophy as well as social changes in the early twentieth century.An introduction to the Arts and Crafts Movement briefly discussing its history in England and the United States is provided as well as a discussion of the Movement's philosophy. Following the history is a chapter concerned with the Arts and Crafts influence in Indiana. Manufacturers and retailers are identified as well as products marketed. Architects and artisans are discussed. Next, a chapter identifies significant interior elements, furnishings, finishes and floor plans. Finally, four case studies are examined ranging from a self-built bungalow to an architect-designed estate. Floor plans, architectural features, and finishes are covered.Department of Architecture
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Barmby, James Thomas. "The art and craft of university coordination." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45690.
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The purpose of this study is to understand the apparent acquiescence of senior officials at Alberta’s universities to legislation that might pose a threat to their institutions’ autonomy. In 1975 the Alberta government under the leadership of Premier Peter Lougheed attempted to introduce a mechanism for coordinating university programs in the Adult Education Act by placing Alberta’s four universities against their will within a system of provincial public post-secondary institutions. The 1975 Act failed to receive third reading due to successful lobbying efforts, yet in 2003 Lougheed's vision was finally realized with the passage of the Post-Secondary Learning Act (PSLA), which enlisted Alberta’s four universities without resistance as members of a provincial system that coordinates post-secondary programming.
A historical analysis, this study was framed within the dimensions of Wenger’s Communities of Practice model to analyze the interaction and trust between and among senior university and government officials in their attempts to find agreement on matters concerning the coordination of university programming. The study found that, only where there was evidence of all three dimensions of the Communities of Practice model, was there mutual trust as well as agreement by the university officials on government initiatives regarding the coordination of university programming. The main conclusion of the study is that university officials responded well to the program coordination concerns of the provincial government when the university officials, treated as equals to their government counterparts rather than as agents of government policy, were given the opportunity to participate in the development of the program coordination legislation and policies in conjunction with government officials.
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Isbister, Vianna. "The Art and Craft of Aerial Dance." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/558.
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The Art and Craft of Aerial Dance discusses my personal experiences training and performing aerial dance, along with my study of safe practices in aerial rigging. My journey as a Theatre and Dance Honors-In-Discipline Scholar at East Tennessee State University from 2016-2020, culminated with my senior thesis capstone performance at Azure Aerial Arts on Friday, December 6th, 2019. This exploration into the world of aerial dance began in the spring of 2017 and has not ceased. If anything, the drive and motivation to continue pushing forward despite many obstacles continues to grow and manifest itself into new forms in my life. This drive, and my work as an intern with Night Owl Circus Arts (NOCA) at Azure Aerial Arts over the summer of 2019, propelled me to choose this topic as my final thesis because of all of my accomplishments at ETSU, this is one that I hold nearest and dearest to my heart.
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Sollevi, Anna. "Craft Reality." Thesis, Konstfack, Textil, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5835.
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CRAFT REALITY Handicra vs. Digital technology A mashup with the aim to unify and to expand. A research of the possibilities that appear when I allow textile cra to get a ected by and to interact with digi- tal manipulation and the aesthetic of the world wide web. A study in contemporary and underground art forms, developed by them young or A method of working with techniques and material, once taught by those today seen as them old: Maybe it can be both.
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Powley, Tammy. "MEMORY-CRAFT: THE ROLE OF DOMESTIC TECHNOLOGY IN WOMEN'S JOURNALS." Doctoral diss., University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3424.
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The term "memory-craft" refers to arts and crafts media where personal memorabilia and journaling are combined and assembled into book form. Examples of memory-crafts include scrapbooks, art journals, and altered books. Traditionally, women have been the primary assemblers of memory-crafts, using this form as a method of autobiography and genealogical archiving. Memory-crafting is often associated with the amateur home-crafter, and while historians have long understood its cultural significance, academia has not properly considered memory-craft as a type of alternative discourse. The purpose of this study is to examine the use of memory-crafting as a non-traditional method of writing, especially among women who use it to record personal and familial narratives. Just as women are usually the primary care-takers of the family, through memory-craft they also become responsible for collecting and preserving memories, which would otherwise become lost. These memories of the everyday – birthday parties, family vacations, and wedding anniversaries – grow to be culturally significant over time. Through the use of domestic technology, which today includes both paper scraps and home computer systems, memory-crafts assist in the interpretation of the present and provide insight into the past. To help explore the connection between domestic technology and memory-crafts, I have organized this study into four themes: history and memory-craft; women and domestic technology; feminist literary autobiography and memoir; and feminism and hypermedia. My approach is a mixture of fictionalized personal narrative and analysis loosely modeled after Writing Machines by N. Katherine Halyes and Alias Olympia by Eunice Lipton. Just as I discuss experimental methods of writing in the form of memory-crafting, I also use an experimental writing technique which gathers from personal memories in the form of a persona named Tess and from the life of my Great Aunt Mamie Veach Dudley. Mamie's journals and letter to her sister document the memories of the Dudleys including a tragic double suicide, which still haunts the Dudleys almost 100 years later. As narrator and storyteller, my stories connect to those documented by Mamie and link the past to the present. Along with Mamie's family records, I consider other memory-related works by women during the eighteenth and nineteenth centuries including Jane Austen, Anne Bronte, and Emily Dickinson, and I also examine contemporary memory-crafters such as those constructed by altered book artists Tom Phillips and Judith Margolis. Digital memory-craft is another source of support for my argument, and I look at web groups and bloggers. For example, I discuss the Wish Jar Journal, a weblog written by illustrator Keri Smith, where she journals her life and creative process and often mixes textual and visual elements in her blog posts. Writer and blogger Heather Armstrong from Dooce.com is another case study included in this project as her blog is an example of documenting familial events and memoir. Because of their fragmented formats and narrative elements, hardcopy and digitally-based memory-crafts become artifacts which combine text and visual elements to tell a story and pass on knowledge of the everyday through the mixture of text and domestic technology. Memory-craft construction does not follow conventional writing models. Therefore, this provides opportunity for experimentation by those writers who have traditionally been removed from established rhetorical writing methods.Ph.D.
Department of English
Arts and Humanities
Texts and Technology PhD;
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Packer, Carolyn E. "The Evolution of Craft in Contemporary Feminist Art." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/23.
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Astfalck, Jivan. "Narrative structures in body-related craft objects." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/7411/.
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In a largely under-theorised subject area as the crafts, this practice-based research contributes to the knowledge and understanding of the body related crafts object at PhD level. It conceptualises the narrative methodology necessary to make the creative work and theoretically examines its intention. Because the theoretical work on narrative structures has been largely done outside the crafts/art context, the research adopts and adapts existing procedures and concepts from hermeneutic philosophy and literary theory to expand on the understanding of the body related crafts object in this new context. The research project investigates narrative structures in body related crafts objects to further the understanding of these objects and to make a contribution to the theory of studio crafts practice. The dialogical and dynamic relationship between the surveying of relevant literature and the creative development of the practical work enabled the development of the narrative context of the work itself and the advancement of a studio methodology that emphasizes reflexivity and is conscious of its own need for understanding. Drawing on historical and autobiographical material, fiction and fairy tales, a series of body-related crafts objects have been produced that tell hybrid, fantastical stories. These objects are enigmatic, yet suggestive of the wounds of history and of the trauma and healing processes that are part of our relationships with others. The work is understood as a mnemonic device created to evoke the complexities and webs of relationships, which exist between the various levels of interpretative investments that would otherwise be un-containable. The exploration of the notion of metaphor within a semantic context is here adapted to facilitate new understanding of the metaphorical qualities found in creative and narrative craft objects. Metaphoricity can be regarded as a way of cross-mapping the conceptual system of one area of experience and terminology with another, suggesting a coherent system created for understanding knowledge in terms of critical reflection, and being conducive to new creative articulation and representation. In the work theory emerges as a dynamic encounter, a continuous re-figuration within a tradition of commentary and interpretation. Researched ideas, practical work and developing studio methodology have been explored further and tested in exhibitions, written publications, conference contributions, teaching projects and artists residencies. A large body of practical work has been generated over the period of the research. Some of the objects are pieces of jewellery, using precious metals and other more idiosyncratic materials. Other objects, even though still wearable, extend the boundaries of the traditional piece of jewellery towards what has become a fine art practice, which uses a multi-media approach together with traditional handcraft goldsmithing skills. Assemblage, installation, video and relational interactive projects have been developed to investigate narrative structures invested in those objects.
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Uline-Olmstead, Molly Louise. "THE KNITTED FLOWER PROJECT: ARTS-BASED RESEARCH WITHIN KNITTING COMMUNITIES." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245270376.
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Bin, Khairani Mohd Zahuri. "Contemporary art, craft and hybridity : Malaysian encounters and responses." Thesis, Sheffield Hallam University, 2011. http://shura.shu.ac.uk/19907/.
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This practice-based research examines the importance of expanding the Malaysian visual culture heritage in light of the enormous impact of hybridity on art and craft in Malaysia. The research addresses the question of the impact of hybridity on art and visual culture by focusing on production of artworks from indigenous Malaysian craft - traditional fabrics Pua Kumbu and Batik, and the Sarawakian layer cakes. The main objectives of this research are to understand the problems, consequences and effects of hybridity on art and visual culture and to produce artefacts that explicitly illuminate a new understanding of the dynamic that obtains between hybridity, contemporary art and craft traditions in the Malaysian context. Questions pertaining to the affects of hybridity and globalisation towards Malaysian politics, economy and social aspects were addressed in the artworks as a key aspect of this research. Furthermore, development of the Malaysian art scene in relation with hybridity will be discussed in the light of contemporary art progression historically. Analysis of the theory of hybridity, connections between hybridity in art via the works of international and local artists, will put forward to clarify theses areas. This will include exploration of the issue of national identity. This research will engage in the production of artefacts in the context of a varied studio practice, developing and employing throughout the course of the research materials and techniques deemed appropriate in the production of artefacts that embody the quality of 'local' cultural forms in dialogue with, or resistant to, forms associated with an exogenous, 'global' culture. The artwork production opens up the phenomenon of the current process of hybridity and the issue of Malaysia's national identity. This research will adopt descriptive, heuristic and comparative methods within an overarching practice-led methodology. The building, implementation and evaluation of methodology together which include exhibitions and audience are the key components of this research. Critical review of the production of artworks is seen to be an integral part of the research methodology; this process will encourage and sustain multi-disciplinary approaches to the research question. This research has revealed the connection between hybridity and the advancement of the Malaysia contemporary art movement that has been undergoing transformation through the process of modernisation. Above all, as a Malaysian artist working in the United Kingdom, my practice differs from the normal practice of Malaysian artists who translate "Malay" culture into art work in that it offers a critical view on political, economical and social issues in Malaysia.
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Boismenu, Nicholas. "Indirect Measure." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3351.
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This paper is in support of my thesis exhibition “Indirect Measure” May 5th – June 3rd 2017, at the Reece Museum, located on the campus of East Tennessee State University. This document is an account of my examination into what constitutes art and the change in my perception of the utilitarian ceramic vessel during my research into the perceived difference between craft and art. Using broad definitions, I define what I believe art to be and how it is different from, and the same as craft.
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Josephson, Codi Lea. "Mama said sew: stitched samplers, contemporary art and domestic craft." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/827.
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My interest in the history of craft as it relates to women and craft in the context of contemporary art led to a more specific personal curiosity about colonial stitched samplers. The incredible skill and patience young colonial stitchers exhibited, layered with the revelatory nature of stitched samplers, sparked a desire to understand them more thoroughly. This thesis is a hybrid product that includes both writing and research about my interest in colonial stitched samplers, craft and contemporary art, as well as ongoing work on three stitched samplers inspired by both colonial schoolgirl samplers and contemporary artists whose work builds upon the tradition of the stitched sampler.
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Liguori, Samantha. "Stingray : an exploration into the art and craft of playwriting." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/579.
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Cloud Nine by Carol Churchill is a good example of non-linear play structure. Episodic plays are part of an even more disjointed time structure. There are both many different locations and characters in an episodic play; it is similar to a film script for that matter. Onstage, this was a revolution; how can a person be in one city and then the next shortly after? This was the rule of continuity that episodic structure broke. Bertolt Brecht did this throughout his movement in epic theatre, and traces of this structure can also be found as early back as Medieval plays. Therein lays the problem. If there are so many different way to write a play, how is it possible to just pick one? How does one even decide? There are many texts on playwriting that all say something different. In the end, the way you format a play script is decided by the structure in which you are writing your script, whether it be linear, non-linear, and episodic structures. This is an exploration to research possible methods of playwriting in the English language, choose a format, and create a story, ultimately forming a universally acceptable play script for a one-act production. Through my process, I researched various elements about play structure. I researched various types of formatting options found throughout texts, and the formatting options found in different publications of plays. I also researched the options of different software programs I could use to format my play. In regards to the show's content itself, I researched the personality disorders of my main character, John, in order to ensure I am staying accurate to the realistic expectations of the disorder. The possible disorders that might influence John included Bi-Polar disorder, Autism, Alzheimer's, or Narcissistic Personality Disorder. These disorders fit the characteristics of John and further research led me to finally adopt Autism as the end result.; David Ball's Backwards and Forwards: A Technical Manual for Reading Plays, Rosemary Ingham's From Page to Stage: How Theatre Designers Make Connections Between Scripts and Images, and Cal Printer and Scott E. Walter's Introduction to Play Analysis aided in ensuring the translation from the script to the stage works together fluidly. By understanding how the play will be analyzed, the potential flaws with the work can be identified before it is put in front of an audience, publisher, or director. A writer needs to know why they made certain choices with both script and character. When a writer can analyze how their script can be perceived, they can create a more solid structure. It also is useful to utilize available play scripts in order to understand the conventions through example. Works that were useful included: Proof by David Auburn, The Glass Menagerie by Tennessee Williams, Equus by Peter Shaffer, The Cherry Orchard by Anton Chekhov, The Vagina Monologues by Eve Ensler, Doubt by John Patrick Shanley, and Death of a Salesman by Arthur Miller. The Vagina Monologues follows the format of episodic structure because of its inconsistencies to time and the multiple characters included in its script. Equus, Proof, and Death of a Salesman are examples of non-linear play structure because of the non-specific timeline the characters follow between past and present. The Glass Menagerie, The Cherry Orchard, and Doubt are all examples of linear structure because a majority of their play's content was written within a specified chronological order.; I researched the historical significance of the car, an all-original, 1969 Stingray Corvette Convertible, in order to allow my characters to speak accurately about their knowledge of the car. I also researched how previous playwrights have accomplished their transitions between the world of the play and a character's alternate reality. This was done in order to provide both a believable and a sly transition so the audience is left unaware until the reveal. In the final stages of this process, I polished the script for inclusion in the Theatre UCF Spring 2012 One-Act Festival (OAF). As stated above, the process of writing a play can be taken down many different avenues; however, the format of a play script is something that remains constant throughout. Knowing the history from where plays derive and which movements created such is just as essential. W. B. Worthen's The Wadsworth Anthology of Drama and Living Theatre by Edwin Wilson and Alvin Goldfarb provide an adequate brevity into the history of theatre. The books Playwriting: Brief and Brilliant by Julie Jensen, Playwriting: A practical guide by Noel Greig, The Art and Craft of Playwriting by Jeffrey Hatcher, and The Elements of Playwriting by Louis E. Catron all provide an introduction to the structured format of the play. These books also contain sections on theory explaining how to create a storyline for a play, how to accomplish believable dialogue, and how to defeat writer's block. Jensen, Catron, and Hatcher all go one step further and take their readers through the processes of publications, copyrights, and productions. Those sources help create the play, but during the editing phase, it is wise to acknowledge how others may study and analyze the work.; Through exploration and research, I plan on combining my two degree tracks, Theatre Studies and Creative Writing, in order to create an original one-act play for production, utilizing the techniques of both fields. My education has been lagging in playwriting, specifically. Neither Creative Writing nor Theatre Studies have any courses geared towards playwriting. Students appear to be taught everything but this aspect. I will, therefore, complete in-depth research in playwriting techniques through literature studies and one-on-one consultations with my professors in both departments. There are many different types of writing structures and play movements. Play scripts can be written in linear, non-linear, and episodic structures. Each structure is measured by the action of a script. The action of a script is developed with each action a character completes that moves the script further along towards a conclusion. Linear structuring of a play is when a majority or all the action of a play occurs in a chronological order. The play, therefore, always will be moving forward in time without any disruptions of said timeline. In a linear play, it does not necessarily mean all the action occurs in this chronological sequence. Comparable to Tennessee Williams' The Glass Menagerie, the entire recollection of Tom Wingfield's story is told chronologically in linear structure, despite the fact that this story is from Tom's memory, about an event he is no longer part of at that time. Non-linear structure occurs when the chronological timeline of a play is broken. The play's action constantly moves backwards and forwards through time. This type of play is based on the ideology of the human thought process. As humans, we may not remember the exact order of how things are remembered; these images and events are distorted somehow by our subconscious in order to remember. Thus, a non-linear play erupts based on the infrequencies of a timeline.B.A.
Bachelors
Arts and Humanities
Theatre Studies
54 p.
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Ottwell, Nicole. "The Impact of Technology on Tradition| The Role of Craft in Our Lives Today." Thesis, University of Missouri - Columbia, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13850743.
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There comes a time in any culture where the introduction of new technologies affect the role of known traditional systems of making or producing. The act of producing cloth is among one of many traditions affected by new technologies.
It is apparent that since the advent of the Industrial Revolution, technologies have gone through many changes. All traditional methods of manufacturing goods and objects have been mechanized and become mass-produced. This has had a profound impact not only on American culture, but global culture and economies. As an artist who has discovered a passion for the process of making itself, and esteems the value of the handmade object, I have become increasingly aware that the handmade tradition is quickly being eliminated from our lives. Therefore, in my work I address these issues. I depict the impact of technology on tradition and consider the role of craft by combining digitally produced and manufactured cloth pieces with handmade elements. This is done using the tools and materials for the production of cloth as the subject matter of this body of work to discuss the loss of the tradition of the handmade in our culture.
In this body of work I bring to the forefront of our attention the fact that the tradition of the handmade, in this instance the hand-woven object, is disappearing through the technical advances seen in digitally designed and manufactured cloth.
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Furniss, Beverly. "Stitched in time: a progressive interpretation of embroidery." AUT University, 2009. http://hdl.handle.net/10292/947.
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This practice-based art and design project explores the potential use of contemporary materials and techniques in relation to extending aesthetic and structural possibilities of embroidery, with a focus on developing textile formations through the medium of ‘free stitch’ machine embroidery. Embroidery is often perceived by the non-enthusiast as a ‘granny craft’: an ‘old’ technique. Contemporary representations of embroidery suggest that new and innovative interpretations exist. Through investigation and experimentation with products, textiles and techniques, the embroidered artefacts that I have crafted are intended to disrupt the conventional perceptions of embroidery by alluding to conceptual associations of tradition and nostalgia. The aim of this project is to promote embroidery as a diverse medium; its use as a means of narrative, a valued skill that spans both art and craft disciplines, and to lift the status of craft by encouraging discourse of craft practice within an academic environment.
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Wallace, Kyle S. "An Exploratory Study of Learning Journeys for Makers in the Fields of Art, Craft andDesign: An Investigation of the Blurred Boundaries between Art, Craft, and Design." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460024614.
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Stinchfield, Bryan T. "A THEORY OF ENTREPRENEURIAL WORK: ART, CRAFT, ENGINEERING, BRICOLAGE, AND BROKERAGE." Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1967978691&sid=1&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Mashigoane, Mncedisi Siseko. "Art as craft and politics : the literature of Mongane Wally Serote." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7875.
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Gowrley, Freya Louise. "Gender, craft and canon : elite women's engagements with material culture in Britain, 1750-1830." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25997.
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This thesis investigates elite and genteel women’s production and consumption of material objects in Britain during the period 1750-1830. Each of its four chapters identifies a central process that characterised these engagements with material culture, focusing on ‘Migration,’ ‘Description,’ ‘Translation,’ and ‘Exchange’ in turn. The Introduction examines each of these with regard to the historiography of eighteenth-century material culture and its relationship with gender, social relations, domesticity, and materiality. It argues that by viewing material culture through the lenses of microhistory and the case study, we might gain a sense not only of how individual women acquired, used, and conceived of objects, but also how this related to the broader processes by which material culture functioned during this period. Chapter 1 identifies the importance of needlework in the construction of prescribed feminine identities, and focuses on representations of needlework in portraiture, genre prints, and conduct literature. The chapter argues that such objects created a ‘grammar’ of respectable domestic femininity that migrated through visual, literary, and material genres, reflecting the permeability of cultural forms during this period. Chapter 2 examines the role of description in the journals and correspondence of the travel writer Caroline Lybbe Powys, concentrating on her 1756 tour of Norfolk. Following the work of the cultural anthropologist Clifford Geertz, the chapter argues that the ‘thick description’ that characterises Lybbe Powys’s accounts of domestic visiting and tourism locates both the homes of her hosts and her own epistolary practices within an interpretative framework of hospitality, sociability, and materiality in which description was central. Chapter 3 considers the interior decoration of A la Ronde, the home of the cousins Jane and Mary Parminter, located in Exmouth in Devon. The chapter argues that the processes of translation that characterised the Parminters’ acquisition and display of their collection of souvenirs transformed these objects both physically and semantically, allowing the cousins to co-opt them into personal narratives, redolent of travel, the home, and the family. Chapter 4 focuses on Plas Newydd, the home of Lady Eleanor Butler and Sarah Ponsonby. It examines how the gift exchange enacted at the house facilitated the creation of ‘gift relationships,’ which both reflected and constituted the connections between Butler and Ponsonby, their numerous friends and visitors to their home, between Plas Newydd and the surrounding landscape, and between material culture, experience, and sentiment, more broadly. Together, the constituent chapters of the thesis demonstrate that there was no simple connection between gender and material culture. However, by interrogating the key cultural processes in which this relationship operated, the thesis hopes to demonstrate the complexity and fluidity of its manifestations.
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Fuhrman, Anne Mary. "The Craft of Portraiture in Eighteenth-Century America." W&M ScholarWorks, 1992. https://scholarworks.wm.edu/etd/1539625718.
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Fadorsen, Stephanie Alexandra. "American Art Pottery: Ohio's Influence on Transforming a Local Craft into a World Renowned Fine Art." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342890450.
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Barnes, Jessica Ruth. "Aspirational Economies of Self and City:The Values and Governance of Independent Crafters in Columbus, Ohio." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408691671.
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Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.
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Remond, Jaya Marie-Paule. "The Kunstbüchlein: Printed Artists' Manuals and the Transmission of Craft in Renaissance Germany." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11676.
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The dissertation studies sixteenth-century German artists' manuals (Kunstbüchlein), a new kind of book that addresses certain types of artistic practices. The Kunstbüchlein testify to and shape transformations of knowledge in early modern Europe. Disseminating practical knowledge in printed form, they endowed craft know-how with a form of authority until then reserved for the liberal arts. They aimed also to reconcile theoretical and practical knowledge, what Albrecht Dürer (the crucial forerunner to the authors of the Kunstbüchlein) termed respectively Kunst and Brauch. Authors Sebald Beham, Heinrich Voghterr, Heinrich Lautensack, and Erhard Schön sought to provide accessible, useful knowledge. Focused on a limited set of topics, they pretended to be closer to practice and to respond more effectively to the needs of their apprentices than Dürer and others in their publications. In fact, the Kunstbüchlein did not mediate Brauch, but show instead what their authors understood Brauch to be. Emphasizing the hands-on acquisition of knowledge through looking, reading, and doing, the Kunstbüchlein placed the printed image, whether as schematic diagram or finished illustration, at the core of the didactic process.History of Art and Architecture
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Damian, Michelle Rodgers Bradley. "Archaeology through Art: Japanese Vernacular Craft in Late Edo-Period Woodblock Prints." [Greenville, N.C.] : East Carolina University, 2010. http://hdl.handle.net/10342/2738.
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Johns, Melissa. "Tenacious Threads: Crazy Quilts as an Expressive Medium for Making Art." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/94.
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In this arts-based study, I will discuss using craft techniques such as crazy quilting in the creative process of making art. The paper describes the history of crazy quilts, a brief summary of artists who use quilts as a medium, and a description of how teaching craft-making skills in the classroom can encourage students to use them for art-making.
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Mak, Wai-man Stephanie. "Chinese arts and craft complex in Ladder Street, Sheung Wan." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25945178.
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Lewis-Nash, Robert J. "Old Fields and New Fields: Ceramics and the Expanded Field of Sculpture." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin150695125608167.
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Gleason, Caitlin. "Maintenance, Craft and Prototype: Andrea Zittel’s Technologies for Living." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11993.
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ix, 77 p. : ill. (some col.)The contemporary artistic practice of Andrea Zittel incorporates a variety of working methods and mediums in making objects that slip easily from one context to another. Zittel's artworks, which range from textiles to found objects, domestic implements and architectural structures, are simultaneously featured in museum collections and used functionally in everyday life. Focusing on her artistic endeavors in New York in 1990s, this study investigates the slippery nature of Zittel's work through the lens of the equally slippery concept of technology. In order to interrogate such intersections, I will examine three of Zittel's projects: Repair Work (1991), A-Z Personal Uniforms (1991-present) and the A-Z Escape Vehicle (1996). These cases exemplify how Zittel's engagement with technology creates a dialogue between her work and artistic and historical movements of the past, while also engaging and critiquing contemporary culture.
Committee in charge: Albert Narath, Chairperson; Kate Mondloch, Member; Allison Carruth, Member
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Yan, Keyu. "Craft or Avant-garde? Contemporary Chinese Fiber Art at the Thirteenth Lausanne International Tapestry Biennale." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595538262296012.
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Alstorp, Paulina. "Ensam är stark!?" Thesis, Konstfack, Ädellab/Metallformgivning, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4629.
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I am interested in humans, bodies, movements, directions and how they affect each other. How we move towards each other or away from each other, inside a home or outside. How we relate to each other and to what people say and do. Co-operations between people that occasionally, possibly, do not work; how certain relationships, like certain materials, can have various breaking-points; that materials can be laden with numerous preconceptions, for instance what they should be used for. Beginning from the perspective of a feminist commune, I have explored the concepts of family, belonging, and loneliness. I have interviewed, observed, photographed, and through living in the commune during shorter periods of time, I have taken part in their every-day life. Through this investigation I have become more aware of my view on loneliness and belonging, regarding both myself and others. Can we as humans stand alone, or is interdependence necessary to reach our full potential? Can we experience loneliness in spite of co-existence? And can we feel togetherness in our loneliness? I have created objects in which I hope the observer can recognise themselves, in the emotions I wish to communicate. It may be about shame; shame for not fitting in; not belonging; a nagging sensation that you are not “right”. It may be the dark side which can arise through togetherness; like being situated in an environment where you are surrounded by people but still do not feel you belong; but also the feeling of release that a self-imposed seclusion can give. Through my jewellery I want to show that the way in which something or someone is decorated can raise standards, values and preconceived ideas.Har tagit bort bilder av upphovsrättsliga skäl
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Capps, Jonathan Michael. "Transcending Traditions with Glass Orbs in Art." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469127095.
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Petrosky, Natalie E. "Little Moving Windows." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1344224872.
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Leung, Mei-yin, and 梁美賢. "The Chinese Women's Calligraphy and Painting Society: the first women's art society in modern China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628697.
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Hockemeyer, L. "Italian ceramics 1945-1958 : a synthesis of avant-garde ideals, craft traditions and popular culture." Thesis, Kingston University, 2008. http://eprints.kingston.ac.uk/20224/.
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Italy's post World War II art and artisan produce and her small and medium scale ceramic production between 1945 and 1958 has been characterised I by an apparent aesthetic synthesis of avant-garde ideals, craft traditions and popular culture. This thesis examines this particular occurrence through a multi and interdisciplinary approach. It has profited from the application of methodologies deriving from the different fields of history, ceramic-, art-, applied art-, design and architectural history and from information obtained from economic and naval histories and tourist guides. This has enabled on the one hand to explain this phenomenon and to situate the ceramic manufacturing sector and the objects within their socio-historical, economic and cultural framework and on the other to employ the objects themselves to challenge dominant ideas within contemporary design-, art-, craft- and ceramic history. The majority of the data that informs this work derives from the analysis of primary sources collected and researched in Italy such as the objects and works themselves, contemporary magazines, archives and interviews. Whilst the time-span has been defined by the perceived birth and decline of the synthesis phenomenon, the period studied in this thesis includes a brief introduction to the tradition and revival of Italy's post-unification ceramic culture and industry and the general aesthetic and artistic developments which have significantly influenced the post 1945 developments. This is followed by an in-depth account of the aesthetic panorama of Italian ceramics between 1945 and 1958 through the works of its protagonists and an analysis of ceramics used as an ornamental medium in architectural structures and modem interior decorating schemes and exteriors. Another part analyses the ceramic industry from a production, economical, commercial and consumption point of view and establishes its significant role not only in relation to Italy's overall economic reconstruction efforts but in the creation of the image that constituted the ideals associated with the 'Made in Italy' label. The last part examines Italian ceramic culture between 1945 and 1958 in its contemporary design, art and craft context. It will present the history of Italian material culture and design as based on an evolutionary model which is incompatible with modernist-lead design histories. In addition, this thesis challenges the under-representation of Italian ceramics within 20th century British ceramic, art, craft and design history and the British approach to ceramic writing and aims to incite further multi and interdisciplinary approach to the history of design.
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Gibson-Quick, Robyn. "Art Deco influences on women's dress from 1915-1925." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1400076412.
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Dunnett, Anne S. W. L. "Art and identity : a social psychological study of stereotypical beliefs about women artists and women's art and the discursive identities of arts professionals and promoters of women's art." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/6447.
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The thesis is a social psychological study of beliefs about women artists and women's art. It is argued that the work of women artists is systematically undervalued in society and it is also argued that people's beliefs about women artists, and their attitudes towards women's art, are stereotypical. People are shown to have stereotyped beliefs about women artists and it is argued that stereotypes comprise the cognitive component of people's attitudes towards women's art. An argument is then presented that the origins of stereotypes can be found in social identity and personal identity. The conclusion is drawn that people's social identities and personal identities influence their views on women artists and their attitudes towards women's art, as represented by the stereotypical belief component of those attitudes. The results of an analytic survey are then presented in support of this claim. The survey findings show that two social identity factors, feminism and gender, and one personal identity factor, sex-role categorisation, influence people's beliefs about women artists and women's art. Having established that people's views on women artists and their work are stereotypical, the thesis then moves on to consider what effect this has on the sense of self of a group of arts professionals. An argument is presented that, in order to accomplish this task, it is necessary to replace survey methodology with discourse analysis techniques. Analyses are then presented of a set of interviews with arts professionals and those involved in promoting women's art. The results of these analyses show that the subjects are able to employ discursive accounts in order to preserve a positive sense of identity in the face of possible challenges to their sense of self In the final chapter, some concluding comments are offered on the advantages associated with adopting a mixed-methodology approach of this kind.
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Thome, Hannah R. "Ravelry.com: Augmenting Fiber Craft Communities and Social Making with Web 2.0." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1524488670252085.
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Lang, Gabrielle A. "Creating an Authentic Aesthetic: A Study of Craft Consumption and Domestic Ideologies." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459438658.
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De, Muro Theodore Edward. "Making a case for clay in art education /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1130215x.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.Typescript; issued also on microfilm. Sponsor: David S. Nateman. Dissertation Committee: Judith Burton. Includes bibliographical references (leaves 203-216).
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Smith, Allison Hope. "162 Springcrest." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524231199349606.
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Palmer, Sean. "Henry James, women's rights and the art of political evasion." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301896.
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Clegg, Bridget Dearie. "Craftivista: Craft blogging as a platform for activism." Miami University Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1271901842.
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