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Williamston, Shabria A. "On Being and Becoming: Re-thinking Identity Through Female Indigenous Artisans in Guatemala." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535636928044626.
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Johnson, Joyce Starr. "Motivational factors among contemporary female needlework producers /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9998489.
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Hartman, Sarah M. "Postcards of us Moroccan textiles on the global market /." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/1009.
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Chambers, Jacqueline M. "The needle and the pen : needlework and women writers' professionalism in the nineteenth century /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9999278.
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Corniquet, Claire. "Ancrage social, ancrage spatial: circulations des savoirs céramiques chez les potières de l'Arewa et du Kurfey, Niger." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209394.
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A première vue, la poterie est une activité qui se pratique seule :la potière possède son propre atelier dans le village et est l’unique bénéficiaire de la vente de ses récipients. Néanmoins les enquêtes de terrain menées dans l’Arewa et le Kurfey oriental (Niger) révèlent qu’à chaque étape de la chaîne opératoire, l’artisane est en contact, plus ou moins proche, avec d’autres praticiennes (apprenties, artisanes de la localité ou d’autres localités). Ces contacts, organisés ou informels, prennent généralement place dans le contexte de certaines étapes de la chaîne opératoire à deux échelles d’analyse différentes :l’échelle villageoise par l’occupation d’un atelier et/ou d’un site de cuisson commun à divers artisanes et l’échelle extra villageoise par la fréquentation de sites d’extraction et de marchés partagés par des artisanes issues de localités différentes. Autant d’espaces de pratiques fréquentés par les potières susceptibles d’échanger leurs savoirs, collaborer et construire, ensemble, un répertoire de connaissances mobilisables. Quand une potière réalise son récipient, elle inscrit sa pratique dans un monde connu et habité. Sa technique est autant marquée par son apprentissage que par son identité familiale et villageoise ainsi que par ses interactions avec d’autres artisanes. Si on admet que chaque pratique est située et que la situation donne du sens à la pratique, il devient impératif d’examiner les situations de partage des savoirs ainsi que les cadres dans lesquels ces situations prennent place. Nous mettrons en évidence les points de contacts qui lient et interconnectent les artisanes d’une même localité et des différentes localités de la zone d’étude. Nous évaluerons les dimensions sociales et relationnelles de l’apprentissage de la poterie ainsi que la façon dont les habiletés sont conceptualisées et investies par les artisanes. En analysant le contexte d’apprentissage et de pratique des artisanes, nous souhaitons apporter un éclairage sur comment s’accroche le social et la technique et ainsi expliquer les configurations techniques observées au sein de la région d’étude.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
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Guilois, Bruno. "La communauté des peintres et sculpteurs parisiens : de la corporation à l’Académie de Saint-Luc." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL098.
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La communauté des maîtres peintres et sculpteurs parisiens a connu une importante évolution entre les XVIIe et XVIIIe siècles. La création de l’Académie royale en 1648 correspond à un temps de bouleversement : l’ancien et le nouveau corps se joignent alors, et tentent de cohabiter dans une même structure. La fin du XVIIe siècle correspond à l’essor de la population de la maîtrise, à la publication des listes de ses membres, ainsi que des statuts, dans une remise en ordre globale de la communauté. C’est donc une corporation forte d’une nombreuse population et bien organisée qui obtient en 1705 une déclaration de Louis XIV lui permettant d’ouvrir une école de dessin fondée sur le modèle vivant. La toute nouvelle Académie de Saint-Luc peut s’installer durablement dans le paysage artistique de la première moitié du XVIIIe siècle. Installée dans des nouveaux locaux dont elle se porte acquéreuse, rue du Haut-Moulin en la Cité, elle transforme considérablement ses statuts, en accordant une place importante en son sein à un corps d’artistes, chargés d’assurer l’enseignement de l’école. Les années 1750 à 1775 sont des années où les évènements se précipitent, pour l’Académie de Saint-Luc. Des expositions, suivies du public, permettent de faire connaître nombre de ses membres, et d’inscrire la petite académie dans les débats artistiques du milieu du XVIIIe siècle. Le perfectionnement de l’école d’après le modèle, permet dans les années 1765-1775 de reconnaître davantage encore un statut propre pour les artistes, au sein de la communauté. L’évolution est donc spectaculaire sur plus d’un siècle, et témoigne d’une adaptation remarquable de la vieille corporation, qui a su assimiler ainsi un fonctionnement académique à l’organisation hiérarchique d’une communauté de métierThe community of Parisian master painters and sculptors went through important evolutions between the 17th and 18th centuries. The creation of the Royal Academy in 1648 corresponds to a time of upheaval: the old and the new profession then came together and tried to coexist within the same structure. In the late 17th century, the population of the maîtrise increased and the list of its members as well as its statutes were published, in an overall re-ordering of the community. Thus, in 1705, the guild was strong in numbers and well-organised when it obtained a declaration from Louis XIV allowing it to open a drawing school based on live models : the brand-new Academy of St Luke became established in the artistic landscape of the early 18th century. It purchased new premises on rue du Haut-Moulin-en-la-Cité. From there, it significantly altered its statutes, giving an important role to a body of artists who was put in charge of teaching within its school. In the years 1750 to 1775, things moved faster for the Academy of St Luke. Several well-attended exhibitions put members of the Academy of St Luke on the map and involved the small academy in mid-18th century artistic debates. The improvement in the life-drawing school in the years 1765-1775 led to an even better recognized status for artists within the community. Over more than a century, this spectacular evolution shows the remarkable adaptation of the old guild, which thus managed to integrate its academic functioning to the hierarchical organization of a professional community
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Carvalho, Andréa Freire de. "Mulheres artesãs : extrativismo da taboa (Typha spp.) em Pacatuba/SE." Pós-Graduação em Desenvolvimento e Meio Ambiente, 2018. http://ri.ufs.br/jspui/handle/riufs/9269.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESThe cattail (Typha spp.) is the protagonist of the life histories of women extractivist-artisans, because it guarantees their sustainability in daily life. In this perspective, the main objective of the thesis was to point out how cattail promotes the socioenvironmental sustainability of women who attribute meanings to their actions as a way of surviving, in the face of the adversities of their daily lives. It had as specific objectives: to contextualize the actions and processes of women in the extraction of the Cattail, in order to influence the construction of socioenvironmental sustainability; identify spaces (social, educational, cultural and political) in which women express their experiences in daily life; to describe the meanings attributed by the woman to the extraction of the cattail in relation to the sociability and the commercialization of the products re-signified to the raw material of Typha spp. To achieve the objectives, oral history was used interwoven with social phenomenology, which allowed us to recall events and facts that led the women extractivist-artisans of cattail - as well as extractive-artisans from Ouricuri straw, fishermen, lace makers, seamstresses, straw braids artisans, housekeepers, ministers, sisters, mothers and wives - to incorporate in their routine ways of resisting and sustaining the family in the place of daily life. In this case, the research locus was the municipality of Pacatuba, State of Sergipe, Brazil. We also used interviews-dialogues, semistructured questionnaires, participation in meetings and events, field journals, theoretical readings and photographs as methodological tools, which allowed us to systematize the thesis. We conclude that, for extractive-artisan women, sustainability is delineated in daily life through actions that aim to keep Typha spp. in constant production and growth. It is not something that is discussed, it is something that is done, and it was transmitted to them by previous generations and by processes of observation of the daily life, especially since the knowledge of the correct management is passed from artisan to artisan, during the harvest, as well as in meetings in associations, craft centers, group meetings and also in prayer spaces. Finally, the meaning that these extractivist-artisans attribute to the cattail is summed up in one word: everything. "[...] The Cattail to us is everything".________________________________________________________________________________________________________________________________
L’arbre Taboa est la protagoniste des histories de vie des femmes artisans et faisantes de l’extractivisme, en raison de la garantie de leur maintenance dans la vie quotidienne. Ainsi, l’objectif central de cette thèse est exposer comment le Taboa (Thypha spp.) permet la viabilité de l’environnement et sociale des femmes qui mettent signification dans ces actions comme une forme de survivre avant les adversités de leur vie. Comme des objectifs spécifiques, la thèse contextualise les actions et les procès des femmes dans l’extraction de Taboa pour influencer dans la construction de durabilité socio-environnemental; elle identifie les espaces (sociaux, de l’éducation, culturels, politiques) dans lesquels les femmes expriment leurs expériences quotidiennes; décrit les significations attribués par ces femmes à l’extraction de Taboa en relation à la durabilité et commercialisation des produits de le Thypha spp. Pour la concrétisation de la thèse, on s’utilise de l’histoire oral ainsi comme de la méthode de la phénoménologie sociale, qui a en permis revoir la construction des faits responsables pour l’incorporation, pour partie de ces femmes artisans de Taboa, (ainsi como les artisans de “palha do Ouricuri”, pêcheuses, dentellières, couturières, femmes blanchisseuses, femmes de ménage, femmes pasteurs, soeurs, mères et femmes) dans leur quotidien, formes de résister et maintenir leurs familles. Dans ce cas là, le locus de recherche est le ville de Pacatuba, Sergipe, Brèsil. On s’utilise aussi des interviews-dialogues, des questionnaires semi-structuré, des participations dans des événements, des registres de recherche en locus, de la littérature de théorie et des photos, comme instrument méthodologique qui permet la systématisation de la thèse. On peut conclure que, pour les femmes artisans et faisantes de l’extractivisme, la durabilité habite dans la vie quotidienne, à travers des actions qui visent maintenir le Thypha spp en constant production et développement. Pour ces femmes, ce n’est pas quelque chose à discuter, mais à faire, une coutume transmise par des générations précédentes et des procès d’observation du quotidien, surtout parce que cette connaissance de manipulation est apprise d’artisan à artisan, pendant les périodes de la récolte, et dans les rencontres des associations, les centres d’artisanat, les réunions de groupe d’artisans, ainsi comme dans les espaces de prière. Enfin, le résumé de la signification que ces femmes artisans mettent à Taboa, est le mot ‘tout’: “Le Taboa est tout pour nous”.
A taboa é a protagonista das histórias de vida das mulheres extrativistas-artesãs, em razão da garantia da sua sustentabilidade no cotidiano. Nesta perspectiva, o objetivo central da tese foi explicitar como a taboa (Typha spp.) promove a sustentabilidade socioambiental de mulheres que atribuem significados às suas ações como forma de sobreviver, diante das adversidades do seu cotidiano. Teve como objetivos específicos: contextualizar as ações e processos das mulheres na extração da taboa, de modo a influenciar na construção da sustentabilidade socioambiental; identificar espaços (sociais, educacionais, culturais e políticos) em que as mulheres exprimem suas vivências no cotidiano; descrever os significados atribuídos pela mulher à extração da taboa, em relação à sociabilidade e à comercialização dos produtos ressignificados à matéria-prima da Typha spp. Para concretização, foi utilizada a história oral entrelaçada à fenomenologia social, que permitiu rememorar eventos e fatos que levaram as mulheres extrativistas-artesãs da taboa - bem como as extrativistas-artesãs da palha do Ouricuri, pescadoras, rendeiras, costureiras, trançadeiras, lavadeiras, passadeiras, faxineiras, pastoras, irmãs, mães e esposas - a incorporarem em sua rotina formas de resistir e sustentar a família no local de vida cotidiana. Neste caso, o locus da pesquisa foi o município de Pacatuba, Estado de Sergipe, Brasil. Utilizou-se também entrevistas-diálogos, questionários semiestruturados, participação em encontros e eventos, diários de campo, leituras teóricas e fotografias como instrumentos metodológicos, que permitiram sistematizar a tese. Concluímos que, para as mulheres extrativistas-artesãs, sustentabilidade delineia-se no cotidiano por meio de ações que objetivam manter a Typha spp em constante produção e crescimento. Não é algo que se discute, é algo que se faz, e que lhes foi transmitido pelas gerações anteriores e por processos de observação do cotidiano, sobretudo porque o conhecimento do manejo correto é passado de artesã para artesã, durante a colheita, e nos encontros nas associações, centros de artesanatos, reuniões do grupo e também em espaços de oração. Por fim, o significado que essas extrativistas-artesãs atribuem à taboa se resume em uma palavra: tudo. “[...]A taboa pra nós é tudo”.
São Cristóvão, SE
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Totten, Kelley D. "Crafting memories in the Mantaro Valley of Peru : performance and visual representation in craftswomen's souvenir production /." Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/10081.
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Tomaz, Mariana Amaral. "Projeto de “artesãs empreendedoras”: trajetórias de mulheres em um programa de inserção produtiva." Universidade Tecnológica Federal do Paraná, 2016. http://repositorio.utfpr.edu.br/jspui/handle/1/2021.
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Essa dissertação mapeia e interpreta trajetórias de mulheres participantes do projeto de geração de renda Vitrine Social, a fim de compreender os valores, relações e conflitos envolvidos nos processos de capacitação, produção e comercialização de artefatos. A pesquisa está centrada nas trajetórias de vida de quatro mulheres que participaram do Programa Vitrine Social, na cidade de Curitiba-PR entre os anos de 2010 e 2015 e que comercializam seus produtos nas feiras de artesanato de Curitiba, mais especificamente, nas feiras do Largo da Ordem e da Praça Osório. A partir de uma perspectiva de gênero, apresentamos os embates vivenciados no processo de tornar-se uma “empreendedora-artesã”, uma vez que o programa se propõe a formar empreendedoras/es. Os procedimentos metodológicos realizados para esta pesquisa qualitativa foram observação participante nas feiras de artesanato, registros em diário de campo e entrevistas que foram guiadas a partir das materialidades confeccionadas ao longo do curso: colchas de patchwork costuradas pelos grupos, portfólios de costura e outros produtos costurados. Em diálogo com as narrativas e memórias das interlocutoras deste trabalho, procuramos produzir uma imagem de todo processo: a decisão por começar a fazer o curso, a trajetória de aprendizado da costura e de noções de gestão de negócios, a formação de um grupo produtivo (e de um “projeto” coletivo), a comercialização nas feiras de artesanato, o desenvolvimento de novos produtos e, por fim, a produção dentro dos lares. Com um olhar sensível às relações e aos espaços envolvidos em cada etapa, foi possível evidenciar a não homogeneidade do processo de aprendizado e das formas de criação e produção de artefatos costurados.This thesis maps and interprets women’s trajectories, which participate in a social project called Vitrine Social, which goal is to generate income. The aim is to understand values, relationships and conflicts experienced during training, production and commercialization of the handcrafts. This research is centred on life trajectories of four women, who were participants of the Vitrine Social in Curitiba, Paraná, Brazil, from 2010 to 2015 and sold their products in Curitiba’s handicraft fairs, mainly at Largo da Ordem and Praça Osório Fairs. From a gender perspective, we present conflicts experienced in the process of becoming a “handcraft-businesswoman”, since this program proposes to form entrepreneurs. The methodological procedures performed on this qualitative research were participative observation of handicraft fairs, records on field diaries and life history interviews with participants from latest groups of Vitrine Social. Interviews were guided starting from handcrafts made during the course: patchwork bedspreads sewed by groups, sewing portfolios and other stitched products. In dialogue with conversationalist narratives and memories we attempted to build an image of the whole process: the decision of taking part of the course, the learning process of sewing, the business management, the formation of a productive group (and of a “Project” collective), commercialization in craft fairs, the new product development, and at last, the production at home. Looking carefully at relationships and spaces involved in each stage, it was possible to evidence inhomogeneity in the learning process, development and production of sewed handcrafts.
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Alkhudair, Maha. "Unveiling Artists: Saudi Female Artists Life Stories." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37502.
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This study tells the life stories of four Saudi female artists. Using life story narrative approach, I focused on the following research questions: How are Saudi female artists fulfilling their aspirations as artists in the conservative Saudi society? What are the common and divergent themes in the life stories of the Saudi women artists, namely Safeya Binzagr, Maha Almalluh, Tagreed Albagshi, and Fida Alhussan? The artists were interviewed using open-ended questions and asked to discuss their artwork. The postmodern feminism and social construction theories were used to understand their life experiences and how they came to be “successful artists” in the conservative Saudi society. The findings showed that family and formal education played an important role in these women’s life journeys as artists. The Saudi society was also a major influence, sometimes supporting them, at other times obstructing them. These artists share many personality features such as being persistent, believing in themselves, taking risks, facing challenges, being independent, being responsible as artists and as part of society, and being honest in their artwork. This study contributes to the art education curriculum in Saudi schools and universities. Globally, it contributes to women’s studies and to social and cultural studies in shedding light on the Saudi society, especially as it is experienced by women.
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Bolzt, Kerstin. "Women as artists in contemporary Zimbabwe /." Eckersdorf, Germany : Breitinger, 2007. http://www.loc.gov/catdir/toc/fy0804/2008400471.html.
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Ma, Nancy. "Woman•Horse: Identifying Chinese Women Artists’ Attitudes Towards Feminism Through a Reclamation of Chinese Women’s History." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16568.
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As a Chinese woman who was once oppressed, and may still be, this thesis project is my initiative to reclaim dignity for those who were oppressed and honour those who helped improve women’s status in Chinese history. Linda Nochlin asking, ‘Why have there been no great women artists?’ inspired me to question Why have there been no great Chinese feminist artists? Simultaneously, Gerda Lerner’s argument on the ‘absence of Women’s History’ motivated me to reclaim Chinese women’s history. This thesis attempts to answer my question through an exploration of women’s contributions to Chinese history. This thesis explores women’s abilities prior to their oppression in the patriarchal order of China’s past. It portrays women’s thousand-year struggle against the patriarchal backdrop, wherein Chinese women and female artists inherited the traits projected onto them. I highlight the gender inequality experienced by contemporary Chinese female artists in the global art world, and their self-identified struggle to be named as ‘feminist artist,’ revealing Chinese women are still submissive to men in ‘Post-Patriarchy.’ In my attempt to examine gender equality issues, many scholars’ and artists’ works are utilized, including Bao Jialin, Ch’ü T’ung-Tsu, Amelia Jones, Li Youning, Li Xueqin, Liang Qichao, Lu Xun, Sally E. Merry, Laura Mulvey, Elizabeth A. Sackler, Sally J. Scholz, Wang Ermin, Wong Hon-lap, Xu Hong, Yuan Ke, and Zhuangzi. The artworks of Judy Chicago, Chen Qingqing, Tao Aimin, and Yin Xiuzhen are also discussed, exploring the similarities they share with me in reclaiming women’s history through artmaking. In addition, the feminist works of Lin Tianmiao and Cui Xiuwen, as well as my own work, are examined to show how contemporary Chinese female artists reject the label of ‘feminist.’ My artwork History can be forgotten and falsified; the purpose of my artwork is to refresh and leave a lasting memory of Chinese women’s suffering and experiences of oppression. Following the flow of my research, my installation work Woman•Horse, 2014–16, mourns the souls of Chinese women lost to history. It contains ten ceramic sculptural works. Each individual piece includes a narrative that describes the lives of and challenges faced by Chinese women from the formation of the cosmos to the present day. The long white strips (signifying footbinding bandages) and red threads hanging down amidst the sculptures embody the long-term oppression of Chinese women and a trace of history. This work has been exhibited at Sydney College of the Arts in September 2016.
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McKenna, Libby. "Audience interpretations of the representation of women in music videos by women artists." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001670.
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Byrne, Debra J. "Feminine identities and the structuring of postmodern portraiture /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3164493.
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Tvardovskas, Luana Saturnino 1983. "Dramatização dos corpos : arte contemporânea de mulheres no Brasil e na Argentina." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280015.
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Orientador: Luzia Margareth RagoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Esta tese aborda a poética visual de artistas brasileiras e argentinas, cujas obras de arte empreendem um discurso critico a violência material e simbólica de gênero, por meio de imagens do corpo. São focalizadas, a partir de uma perspectiva feminista, as artistas contemporâneas brasileiras Ana Miguel, Rosana Paulino e Cristina Salgado, e também as argentinas Silvia Gai, Claudia Contreras e Nicola Costantino que se utiliza de transfigurações, dramatizações e manipulações sobre imagens corporais como manobras transgressivas e de resistência. O trabalho será norteado teórica e metodologicamente pelos estudos feministas e pelo "pensamento da diferença", sobretudo por Michel Foucault e Gilles Deleuze
Abstract: This research approaches the visual poetics of Brazilian and Argentinian artists whose artworks undertake a critical discourse of violence of gender (material and symbolic) through images of the body. From a feminist perspective, we focus on the Brazilian contemporary artists Ana Miguel, Rosana Paulino and Cristina Salgado and also the Argentinian Silvia Gai, Claudia Contreras and Nicola Costantino. Their work deals with transfigurations, dramatizations and manipulations on body's images as transgressive maneuvers of resistance. The methodology of this work will be guided by the Feminist studies and by the Difference theory, especially by Michel Foucault and Gilles Deleuze
Doutorado
Historia Cultural
Doutora em História
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Adley, Allyson Sarah. "Re-presenting diasporic difference, images of immigrant women by Canadian women artists, 1912-1935." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq39122.pdf.
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Addison, Rosemary Catharine. "Women artists and book illustration in Edinburgh, 1886-1945." Thesis, Heriot-Watt University, 2004. http://hdl.handle.net/1842/26313.
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This thesis documents a range of visual and textual records of women artists and illustrators in Edinburgh (1886-1945). It considers how women trained and applied skills to illustrate unique and multiple images for Edinburgh's printing and publishing houses. Research by Dr Elizabeth Cumming into the Arts and Crafts Movement in Edinburgh, studies by Professor Janice Helland of Professional Women Artists in Scotland and work by Professor Sian Reynolds into the cultural industries in Edinburgh, provide fundamental models of enquiry into women's occupations in this period. The following chapters discuss the ways in which women presented images of themselves. They generated images in book form, in design, illustration and the interpretation of texts. Nineteenth century debates about the necessity of roles for women in art, education, religion and politics challenged gendered norms of the political culture. In order to stress the agency o f women illustrators, a s scribes who wrote themselves into their culture, the thesis also marks the currency of changing attitudes about womanhood. Interaction between women as cultural facilitators, campaigners for women's rights and artists as illustrators emerges in a critical phase of Scottish history.
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McNeal, Joanne Carolyn. "Western Arctic women artists' perspectives on education and art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25113.pdf.
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Lewis, Joanne Rebecca. "Women artists in Botswana in the late 20th century." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525246.
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Women have always played a large part in the visual arts throughout Africa. In Botswana at the present time this is illustrated most immediately by the woven baskets, seen everywhere, in galleries, shops and at roadside stalls, that have come to represent the country and its arts and crafts; and with the odd exception they are all made by women in the most rural areas. However, women in Botswana currently practice other arts, including house decoration and pottery, although, for a variety of reasons, these are less immediately obvious. In contrast to these practices, representing traditions inherited from the past, there are others of relatively recent inception. Since the 1980s Botswana has seen the emergence of a small number of women ‘Fine’ artists, some of whom are Botswana nationals while others are expatriates settled in the country. In contrast to arts made for immediate local use, or sold in roadside stalls, the work of these artists is exhibited in the few art galleries that now exist. During the same period, art education has also been gradually introduced into the school and university system in Botswana. Art galleries both private and public are another recent development, beginning with the National Museums and Monuments Art Gallery, which opened in 1978, and which began to facilitate local exhibitions of Botswana art, while also encouraging exhibitions of this material in other countries. In addition to local tradition and an emerging Fine Art practice, art education, museums and galleries, a series of workshops has also been developed. Some of these were set up by expatriates on a more-or-less permanent basis with the aim of training women in various art forms, while others are temporary and artist-led, giving selected groups of artists the chance to meet, work and exchange ideas. I begin this thesis, therefore, with a survey of all the arts inherited from the past, and currently practised by women in Botswana, and then, in a series of chapters I look at each of the developments, including art education, museums and galleries, and workshops; and their histories, their aims, and their achievements with particular regard to the overall development of the arts in Botswana. This thesis thereby provides a comprehensive study of all the arts practised by women in Botswana through the last thirty years.
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Deepwell, Catherine Naomi. "Women artists in Britain between the two world wars." Thesis, Birkbeck (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282800.
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Low, Yvonne Yanmei. "Women Artists: Becoming Professional in Singapore, Malaya and Indonesia." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13843.
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This is a woman-centred study that examines women’s art: art which had enabled women artists to become professionals in a male-dominated art world, at specific historical moments of present day Singapore, Malaysia and Indonesia. This thesis argues for the need to re-evaluate women’s contributions in nationalist and modernist art discourses, so as to include perspectives of women’s creative and intellectual developments in what were undeniably male-dominated professional spheres. Although the issues of gender disparity and women’s absence in history are not in itself new, they remain prevalent. For this dissertation, I have employed the recover and revise strategy in the examination of historical records and visual materials. I argue that any meaningful discussion on the issue of gender disparity in the professional art activity must take into consideration historical factors. In my study, I have juxtaposed the ideological positioning of women artists in nationalist narratives with the recovered histories of women artists undertaking creative work. I do this to show how precisely women artists were written into and out of history to serve nationalist agendas. I have further used the concept of public sphere as a theoretical frame to exemplify and illuminate the criticality of women’s historical roles and place in the nascent art worlds of Singapore and Malaysia (then Malaya) and Indonesia. By tracing the historical development of the widening public sphere, it is possible to observe that women were always within rather than outside of the process. Second, it is possible to observe the different terms on which women acted in the male-dominated public sphere. Under the purview of established ideologies on art professionalism, women artists asserted their creative authority in the following ways: by transforming institutionalized visual language and institutionalized processes, and by creating new public sites for women. This study shows that women, often deemed “missing”, have always been a part of this enlarging process of the socio-cultural sphere even though their art did not attain the recognition or accolades that their male colleagues had. In their pursuit for an artist-existence, women faced cultural and ideological challenges. Their absence in colonial and anti-colonial histories is in part implicated by the nature of their struggles for women’s emancipation and their politicized positions, and in part by the restrictions they faced when participating in anti-colonial, liberation movements and national politics within the public sphere. The manifestations of cultural nationalism further restricted women’s participation in the public spheres and contravened the aspirations of women artists. By re-examining the roles women played in these countries, this thesis has identified the structures that restricted the participation of women artists, and the ways in which subsequent historiography reproduced their absence in historical narratives. As a preliminary exploration of women’s art based on comparable historical circumstances in then Malaya, Singapore and Indonesia, this thesis hopes to posit a model to uncover forgotten histories of women artists and to recover their subjectivity without necessarily separating them from their male counterparts, or inserting them into a separate discourse.
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Tolley, Rebecca. "Review of Life Stories of Women Artists 1550-1800." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/5654.
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Franklin, Serena. "Ill beats : black women rap artists and the representations of women in hip hop culture." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/336.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Anthropology
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Gamelin, Anastasia Kamanos. "Home and away : the female artist in academia." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36933.
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This dissertation explores the conflicts, contradictions and paradoxes inherent in the lives of those women who, as artists and academics, seek to connect their personal and professional lives in their work. It explores how creativity and the pursuit of self-knowledge relate to the lives of female artists and academics. The dissertation arises from a study of my own experience as woman, writer and academic.Inquiries into creativity and feminist, critical and cultural theory provide the framework for examining how the identity of the female artist is shaped within the patriarchal institution of academia, an institution originally created by, and for, men and still strongly influenced by this history. These inquiries allow a deeper understanding of the impact of this institution on the life and work of the female artist both within and beyond the academy. As a self-study, the distinctive voice of this dissertation is developed through autobiographical narratives, journals, letters and a development of personal metaphors, as well as through a dialogue with others. This is therefore a performative text in which narratives map a process of transformation that traces the artist's path from silence to voice.
This work has important implications for women in higher education as self-study is revealed to be an essential methodological instrument for the articulation of alternative, authentic perspectives of marginalized and under-represented women. Moreover, the acknowledgement of the academic/artist paradigm in teacher education opens the path for a re-viewing of the metaphors of self-denial, impersonation and masks that are part of the landscape of teacher knowledge.
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Vila, Migueloa Maria Carme. "El cos okupat. Iconografies del cos femení com a espai de la transgressió masculina en el còmic." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/403200.
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L’objectiu de la tesi és analitzar críticament el sistema sexe/gènere que construeix el discurs iconogràfic del còmic a través de l’ús central del cos femení com a instància on s’inscriuen tots els significats socials. Aquests significats el codifiquen des d’una visió androcèntrica i consumista, que es reprodueix en la repetició, okupant i modelant la representació de les dones en absència de la seva veu. Mentre les autores es perden en un buit de silenci dins el discurs masculí, els cossos de les heroïnes, vampiresses, superdones, megavixens i malèfiques, han estat les icones imprescindibles usades comercialment com a esquer per atraure els lectors.
Per més que intentin transcendir els rols de gènere, les autores de còmic s’enfronten a la manca d’espai, però també al repte de l’autorepresentació, a l'abordar el qual es troben el discurs aliè okupant prèviament el seu territori corporal usurpant el cos i el seu significat. La misogínia domina no tan sols el còmic mainstream; també la producció contracultural ha utilitzat principalment el cos femení como a eina d’alliberament masculí, des de l’apropiació de la veu i la representació de l'estereotip i també des de la reestructuració transgressora dels models. L’etern discurs renova les inscripcions de gènere sota nous vels i okupa l’artefacte “dona”. L’anàlisi mostra aquesta okupació històrica d’un cos mut enfrontada a l’escassa presència de les veus femenines en el còmic adult. L'àmbit de la recerca és el panorama que construeix històricament l’imaginari del còmic espanyol.
La tesi mostra la dificultat que aquesta okupació ha suposat històricament per a l’emergència d’un discurs autònom de les autores i com les seves conseqüències s’observen en la masculinització del mitjà que marca la manca d’equilibri de les veus en els espais centrals del còmic comercial, juntament amb una creixent emergència dels espais de resistència davant els estereotips del mainstream.
Al mateix temps i en paral·lel, la tesi cerca l’empremta que deixa aquest context en l’emergència resistent de les autores espanyoles, des de la República fins a l’actualitat, descobrint la necessitat d'iniciar una genealogia amb la qual poder dialogar des de l’autorepresentació, en la lluita contra els estereotips, cap a la construcció d’un llenguatge iconogràfic més plural per uns cossos amb veu pròpia, finalment des-okupats.This thesis critiques the system of sex and gender that shapes the iconographic discourse underlying the portrayal of women in comic books. It examines the generalised use of the female body as the slate on which social meaning of all kinds is inscribed and codified in language that is androcentric and consumption-based; and it considers how this has been perpetuated by repetition, occupying and modelling the representation of women in their absence. While the voices of women cartoonists are drowned out in the vacuum of silence generated by this male discourse, the bodies of the heroine, vampiress, superwoman, mega-vixen and female figure of evil remain the indispensable commercial icons that are used as bait to attract male readers. However hard they try to overcome gender roles, women cartoonists still face various difficulties, including the lack of space in professional terms and the difficulty of portraying themselves as they really are when the territory of their body and its meaning have been taken hostage by an alien discourse. The misogyny that dominates the mainstream comic book is also reflected in this genre’s counterculture, where the female body has generally been used to serve the purposes of male liberation, either because male authors have appropriated women’s voices and perpetuated female stereotypes or because their restructuring of gender models has basically been transgressive. The age-old discourse simply reinforces itself, hiding old biases under new disguises and continuing to “occupy” the artefact “woman”. Against the backdrop of this historical “occupation” of the silenced female body, the thesis also examines the scarcity of women’s voices in the adult comic industry. Its research area is the panorama which historically constitutes the imaginary of the Spanish comic. The thesis describes, in historical terms, how this “occupation” has hampered the emergence of an independent discourse for women cartoonists and how this has made the mainstream commercial comic a markedly male-oriented medium. It also considers the growing sense of emergency being experienced in certain pockets of resistance to the stereotypes of the mainstream. At the same time, the thesis also retraces the activities of women cartoonists in Spain from the time of the Second Spanish Republic to the present, revealing our need to establish a genealogy of self-representation in the battle against stereotypes and a plural iconographic language created by bodies that speak for themselves, liberated from occupation.
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McEwin, Florence Rebecca. "American women artists and the female nude image (1969-1983)." Thesis, North Texas State University, 1986. http://catalog.hathitrust.org/api/volumes/oclc/23638110.html.
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Thesis (Ph. D.)--North Texas State University, 1986.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 367-404).
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Lee, Andrea Kathleen Wahlman Maude. "Envisioning the sacred expressions of spirituality by contemporary women artists /." Diss., UMK access, 2006.
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Thesis (Ph. D.)--Dept. of Art and Art History and Center for Religious Studies. University of Missouri--Kansas City, 2005."A dissertation in art history and religious studies." Advisor: Maude Southwell Wahlman. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 29, 2007. Includes bibliographical references (leaves 354-398). Online version of the print edition.
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McLaughlin, Pamela Ann. "Mapping an identity how women artists develop an artistic identity /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.
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Memarzia, Mitra. "Contemporary Iranian women artists : a practice based analysis of identity." Thesis, Sheffield Hallam University, 2006. http://shura.shu.ac.uk/20054/.
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This research has been concerned with the overall notion of the crisis of identity in Iran. More specifically, this research involved 20 contemporary Iranian women artists; 10 living in Iran and 10 living in exile and examines the position of women and the ways the notion of identity is reflected in their artworks, and viewpoints. The researcher's position as a contemporary Iranian woman artist living and working in the UK has been integral to the enquiry. As a member of the group being explored this position has allowed personal experience to be used in order to achieve a deeper understanding of the issues involved. Due to the lack of material on issues relating to the subject, the researcher made numerous visits to Iran in order to interview the artists and collect relevant data. This allowed the research to be conducted from the two viewpoints of the "East" and the "West". Due to the central role of the researcher in this practice-based study, a process of reflection in the spirit of the reflective practitioner was adopted as part of the overall methodology. Through a multimethod approach this investigation has used various forms of enquiry in order to integrate different elements in the research, such as the analysis of documentary sources and visual interpretation of artefacts. This has provided the research with a wide range of material that has enhanced the study's aims and outcomes. This investigation has also explored the historical changes that have affected Iranians, in particular the artists and the researcher. The prominent recent changes have been identified as the Islamic Revolution (1979), the Iran-Iraq war (1980-1988), and Western influences. These changes amongst others have been analysed from the perspective of literary and cultural theory. Theories of identity were studied and examined in relation to the artists in order to clarify their particular positions. This research has identified the complexities of the issues surrounding Iranian women's identities. The two groups of artists have shown similarities and differences due to similar underlying issues of being Iranian women and differences due to their audiences and positioning inside and outside Iran. Both groups have shown concerns with the notion of displacement expressed in interviews and illustrated in their artefacts. This research is a timely exploration of Iranian women's identities; a group of women that are still under-examined. With the current climate of political suspicion between Muslim countries such as Iran and the West, in particular the USA, this research is a valuable insight into understanding Iranian women's issues, and more generally Iranian identity.
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Montgomery, Janet Elise. "Women contemporary Western-style artists in Japan : Ethnographic case studies /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487862399449621.
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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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Tyreman, Katie. "Between Women: Visualizing Victorian Women Artists’ Identities through Art Movements, Media and Scale, c. 1848-1898." Thesis, University of York, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594222.
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Amos, Johni. ""I Can Do Whatever the Hell I Want”: Female Tattoo Artists, Their Experiences, and Identity Creation." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1572816773151793.
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Meskimmon, Marsha Gretta. "Women artists and the Neue Sachlichkeit : Grethe Jürgens and Gerta Overbeck." Thesis, University of Leicester, 1992. http://hdl.handle.net/2381/35698.
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This work examines the complex relationship between gender and the work of women artists associated with the Neue Sachlichkeit. The critical 'realism' of the Weimar Republic has become best-known through the work of artists such as Otto Dix, George Grosz and Christian Schad, but a number of women artists also engaged with the aesthetic, including Grethe Jurgens and Gerta Overbeck. Jurgens and Overbeck were part of the Hanoverian regional variation of the Neue Sachlichkeit which flourished between 1925 and 1938. In this thesis, the works of Jurgens and Overbeck are examined with particular reference to the gender politics of the Weimar Republic. Rather than rely upon masculine-normative practices which privilege individual artists and biographical techniques, this thesis explores four themes in the representations of the artists within the wider context of gendered cultural ideology. The first chapter takes as its theme the asymmetrical situation of men and women with respect to the concept of the 'artist' and evaluates the ways in which women realists of the period produced strong, artistic identities through their art. Chapter Two explores the pervasive association of domesticity with women in terms of the representations produced by Jurgens and Overbeck. The third and fourth chapters turn toward the public sphere and examine the ways in which gender conditioned the responses of the artists to the subjects of other women and politics. This work is vital for three reasons. First, it provides information about the work of a number of artists hitherto under-researched and under-valued. Second, the work attests to the active role of gender in the Neue Sachlichkeit and exposes the male-centredness of the movement. Third, it combines theoretical ideas and practice meaningfully; it is an example of feminist praxis in the study of women artists.
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Broadhurst, Maura Lesley. "Strategic spaces : towards a genealogy of women artists' groups in Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0002/MQ40226.pdf.
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Walker, Parker Sharon LaVon. "Embodied Exile: Contemporary Iranian Women Artists and the Politics of Place." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1432%5F1%5Fm.pdf&type=application/pdf.
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Perkins, Gillian Hugman. "Issues in the construction of identity of some contemporary women artists." Thesis, University of Northampton, 1999. http://nectar.northampton.ac.uk/2979/.
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This thesis is based on an empirical study of forty-three contemporary women artists. The aim of this research was to explore how a number of factors impact on these women’s construction of their identity as artists. The women were selected through the East Midlands Arts register of artists, and therefore targeted women who had already identified themselves as practitioners. Although they all registered themselves as painters, their use of such terms as painter and artist, as my research revealed, was fluid, being dependent on changing perceptions of self. The research was conducted in line with feminist theories, which privilege gender as a defining characteristic of people’s experience. This is not to sanction notions of essentialism and therefore the research does not seek to universalise the position “woman”, but rather attempts to gain an understanding of the diversity of women’s experiences. To that end, the research data were collected through the use of both questionnaires and in-depth, semi-structured interviews. Five main categories emerged from the interviews, which formed the basis of the data analysis and interpretation. These were: issues concerning the conventional image of the artist and the limited availability of role models this provides for women artists; the relationship between women’s sense of their identity as females and its impact on their ability to combine that with an artist identity; the role of higher art education in constructing images of the artist; the part played by women artists’ social relations, including their relationships and roles within the family; and the models and realities of working practices, including the implications of the site of production and forms of dissemination. Two patterns emerged in my sample group regarding the various ways of constructing an artist identity. They largely reflected the impact of socialisation which, it would appear, requires women to adopt either a traditional female role around which the artist identity somehow has to be worked, or a traditional artist role which still challenges the adoption of a certain kind of female identity. The women in my sample group, however, showed signs of attempting to negotiate their own pathways towards complex and multiple identities; a process made more intricate for women with an additional identity of mother
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Dalgleish, S. H. R. "'Utopia' redefined : Aboriginal women artists in the Central Desert of Australia." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365051.
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Kidder, Alana D. "Women Artists in Pop: Connections to Feminism in Non-Feminist Art." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.
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Medema, Kara N. "Chiyo-ni and Yukinobu: History and Recognition of Japanese Women Artists." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3914.
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Fukuda Chiyo-ni and Kiyohara Yukinobu were 17th-18th century (Edo period) Japanese women artists well known during their lifetime but are relatively unknown today. This thesis establishes their contributions and recognition during their lifespans. Further, it examines the precedence for professional women artists’ recognition within Japanese art history. Then, it proceeds to explain the complexities of Meiji-era changes to art history and aesthetics heavily influenced by European and American (Western) traditions. Using aesthetic and art historical analysis of artworks, this thesis establishes a pattern of art canon formation that favored specific styles of art/artists while excluding others in ways sometimes inauthentic to Japanese values. Japan has certainly had periods of female suppression and this research illustrates how European models and traditions of art further shaped the perception of Japanese women artists and the dearth of female representation in galleries and art historical accounts.
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Thornton, Meghan Schwain Kristin. "The impression of humor Mary Cassatt and her rendering of wit /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6530.
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Illustrations not reproduced. The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 25, 2010). Thesis advisor: Dr. Kristin Schwain. Includes bibliographical references.
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Missia, Frano G. "Painting the nude by male artists in Western art /." Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396210.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Rene Arcilla. Includes bibliographical references (leaves 112-113).
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Dudley, Jennifer Ann. "Traversing the boundaries? : art and film in Indonesia with particular reference to Perbatasan/Boundaries : Lucia Hatini, paintings from a life /." Murdoch University Digital Theses Program, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090716.145044.
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Kim, Gumsun. "A question of equality : women and women's art under patriarchal society /." View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030801.151817/index.html.
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Queiros, Doralice Alves de. "Mulheres cordelistas : percepções do universo feminino na literatura de cordel /." Belo Horizonte : Faculdade de Letras da UFMG, 2006. http://www.bibliotecadigital.ufmg.br/dspace/bitstream/1843/ALDR-6WEK7J/1/disserta__o.pdf.
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Iggulden, Annette, and mikewood@deakin edu au. "Women's silence: In the space of words and images." Deakin University. School of Contemporary Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.120456.
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My thesis is made up of words and images. This study investigates the way in which silence operates productively within and between the two modes of communication. I suggest that in the process of changing words into images or scripto-visual art-practice, the silence in women's lives can be articulated. I argue that women draw on the generative qualities of silence to create forms of speech that override the cultural constructions of gender which have placed them within the space of mute silence.
To gain an historical perspective of this practice by women, I consider the lives of medieval nuns within religious enclosure and their work with words and images in the illuminated manuscript. I make a comparative study of original illuminated manuscripts, focussing mainly on visual language and locating aspects of the work closest to my own art-practice: the visual treatment of the space and inter-textual components of the page or folio. This project does not include an examination of miniatures or historiated initials. Rather, its aim is to identify and compare the use of other aesthetic devices available to the medieval scribe/artist through which they might have interacted with the text. I suggest links between verbal and visual performances of language and the repetition, or copying of texts by medieval nuns, as a means of female embodiment of words and their spaces.
From the outcomes of my studio investigations and my consideration of other contemporary feminist art practices, I demonstrate how women artists may re-write the text and speak their silence through visual language and the acts of writing, drawing and painting the words of others. Through my engagement with feminist critical theory, the work of medieval scholars, original illuminated manuscripts and my studio research, I propose that scripto-visual practice remains particularly significant for women despite the differences between the medieval period and our own. As a generative practice, it negotiates some of the societal constraints on women's speech and visibility, because its language is silent and disembodied from the image of woman constructed by male discourse. It is a form of speech that acknowledges as it defies the social and cultural conditions that shaped its necessity, articulating an alternative voice of women in the space of words and images.
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Cavagnaro, Loretta Maureen. "Eva Hesse in exhibition : contexts and categories /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Borghino, Elisa. "Des voix en voie : les femmes, c(h)oeur et marges des avant-gardes." Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENL041/document.
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Des voix en voie. Les femmes, c(h)oeur et marges des avant-gardes étudie le dense réseau de relations établies par quelques figures féminines qui ont inspiré des projets et des recherches au sein des avant-gardes historiques dans le panorama français du début du XXe siècle. La présente étude s'intéresse à des femmes – Sonia Delaunay, Claire Goll, Marie Laurencin, Hélène d'OEttingen, Valentine de Saint-Point et Elsa Triolet – qui ont travaillé de concert avec les représentants majeurs des avant-gardes émergentes, en donnant naissance à des projets et à des collaborations à travers l'Europe. Ces femmes artistes prolifiques, qui ont en commun le multiculturalisme et le pluristylisme, sont très actives dans le panorama artistique et littéraire du début du XXe siècle. Des traces de leurs travaux peuvent se retrouver dans les correspondances, les manuscrits, les mémoires et d'autres documents, édités et inédits, qui constituent le corpus de la thèse. La documentation ici présentée est un témoignage de la capacités des auteures à mettre en place des stratégies de communication pour une reconnaissance méritée de leur production sur la scène nationale et internationale. Le travail présente trois parties, chacune décrivant, expliquant et analysant la matière, dans le but de retracer les parcours – les voies – de ces quelques créatrices, pour en faire enfin ressortir les voix. Les annexes comprennent des documents originaux et une chronologie qui liste les travaux examinés, avec ceux des principaux chefs-de-file des avant-gardesVoices on the way. Women, heart / choir and fringe of the avant-garde explores the thick network of relations established by some female characters who have inspired projects and researches within the historical avant-garde in the French panorama of the early twentieth century. This study examines women – Sonia Delaunay, Claire Goll, Marie Laurencin, Hélène d'OEttingen, Valentine de Saint-Point and Elsa Triolet – who have worked closely with the main leaders of the emerging avant-garde movement, giving rise to projects and cooperations across Europe. These fecund female artists, who share multiculturalism and multilingual abilities, are the most active in the literary-artistic landscape of the early twentieth century. Traces of their works can be found in correspondence, excerpts, memoirs and other documents, both published and unpublished, that create the corpus of the thesis. The documentation presented here is a valid testimony to the authors' ability to put in place communicative strategies for an adequate recognition of their work into the national and international scene. The work is subdivided in three parts, each describing, explaining and dissecting the subject, in order to retrace the ways of these creators, to hear their voices at last. The appendix includes original documents and a chronology listing the examined works, together with those of the main exponents of the avant-garde movement
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Jacquin, M. C. "Narrative unrest : the politics of narrative in women artists' film and video." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1396991/.
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This dissertation examines the politics of narrative in women artists’ film and video. It investigates not only how narrative was and is used as a powerful instrument to offer counter-discourses to those sanctioned by the dominant culture, but also how narrative forms themselves can be invested with political significance. Starting in the 1960s, the supposed neutrality of narrative forms came under sustained attack, particularly by post-structuralist thinkers such as Roland Barthes, Michel Foucault and Julia Kristeva. Their political critique of narrative quickly found its way into the work of experimental film and video makers, whose responses ranged from total rejection to partial and conflicted acceptance. Part One of this thesis seeks to understand the various ways in which narrative was reshaped in the work of women filmmakers and video artists from the 1970s and 1980s – who, I argue, could not do away with narrative as easily as men. It focuses on the independent scene in Britain, revealing the impact of feminist theory and the women’s movement on the ‘return to narrative’ in British avant-garde film and video, and the major contribution of women artists to the deconstruction and refashioning of narrative forms. It also proposes detailed analyses of particular narrative strategies, as found in the work of Laura Mulvey, Lis Rhodes, Tina Keane and Zoe Redman, among others. Part Two brings the question of the politics of narrative into the twenty-first century through an in-depth discussion of three contemporary video installations by Chantal Akerman, Eija-Liisa Ahtila, and Catherine Sullivan. It shows how the narrative strategies deployed by an older generation of film and video makers have been re-articulated in new ways in these works, and proposes new terms to understand the use, meaning, and political resonance of narrative in contemporary film and video: Porous, Schizophrenic and Contagious.
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Photiou, Maria. "Rethinking the history of Cypriot art : Greek Cypriot women artists in Cyprus." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/12139.
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This thesis brings together women artists art practices situated in five key periods of Cyprus socio-political history: British colonial rule, anti-colonial struggle, 1960 Independent, the 1974 Turkish invasion and its aftermath of a divided Cyprus, which remains the case in the present day. Such study has not been done before, and for this, the current thesis aims to provide a critical knowledge of the richness and diversity of Greek Cypriot women's art practices that have frequently been marginalised and rarely been written about or researched. As the title suggests, this thesis engages in rethinking the history of Cypriot art by focusing on the art produced by women artists in Cyprus. By focusing primarily on the work of Greek Cypriot women artists I am interested to explore the conditions within which, through which and against which, women negotiate political processes in Cyprus while making art that is predominantly engaged in specific politicised patterns. The meeting point for the artists is their awareness of being women artists living in a colonised, patriarchal country under Greek Cypriot nationality. While these artists assumed very different positions in their experience of the several phases of Cyprus history, they all negotiate in their practice territorial boundaries and specific identity patterns. Significant to my thesis are a number of questions that I discuss in relation to women artists professional careers and private lives: nationalism, militarism, patriarchy, male dominance, social and cultural codes, ethnic conflict, trauma, imposed displacement through war, memory and women's roles, especially as mothers, in modern and contemporary Cyprus. Thus, I address questions of how women artists in Cyprus experienced such phenomena and how these phenomena affected both their lives and their art practices.