Dissertations / Theses on the topic 'Women artists Australia History'
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1
Baguley, Margaret Mary. "The deconstruction of domestic space." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35896/1/35896_Baguley_1998.pdf.
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Introduction:
I find myself in the pantry, cleaning shelves, in the laundry, water slopping around my elbows, at the washing line, pegging clothes. I watch myself clean shelves, wash, peg clothes. These are the rhythms
that comfort. That postpone. (The Painted Woman, Sue Woolfe, p. 170)
As a marginalised group in Australian art history and society, women artists possess a valuable and vital craft tradition which inevitably influences all aspects of their arts practice. Installation art, which has its origins in the craft tradition, has only been
acknowledged in the art mainstream this decade; yet evolved in the home of the 1950s. The social policies of this era are well documented for their insistence on
women remaining in the home in order to achieve personal success in their lives. This cultural oppressiveness paradoxically resulted in a revolution in women's art in the environment to which they were confined. Women's creative energies were diverted and sublimated into the home, resulting in aesthetic statements of individuality in home decoration. As an art movement, women's installation art in the home provided the similar structures to formally recognised art schools in the mainstream, and include: informal networks and training (schools); matriarchs within the community
who were knowledgable in craft traditions and techniques and shared these with younger women (mentorships); visiting other homes and providing constructive
advice (critiques); and women's magazines and glory boxes (art journals and sketch books). A re-examination of this vital period in women's art history will reveal the
social policies and cultural influences which insidiously undermined women's art, which was based on craft traditions.
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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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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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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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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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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.
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Malone, Kelsey Frady. "Sisterhood as Strategy| The Collaborations of American Women Artists in the Gilded Age." Thesis, University of Missouri - Columbia, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13877154.
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This dissertation employs four case studies—illustrator Alice Barber Stephens in Philadelphia; Louisville-born sculptor Enid Yandell; photographer Frances Benjamin Johnston in Washington, D.C.; and the Newcomb College Pottery in New Orleans—to show how individual women artists from a variety of media utilized collaborative strategies to advance their professional careers. These strategies included mentoring, teaching, and sharing commissions with one another; establishing art organizations; sharing studio and living spaces; organizing and participating in all-female art exhibitions; and starting businesses to market their work. At a historical moment when expectations and ideas towards gender roles and feminine performance were shifting, these women artists negotiated these changes as well as those of a fine art world that was redefining itself in an increasingly consumer-based culture that challenged traditional definitions of the “professional” artist.
“Sisterhood as Strategy” intersects with important work in the fields of American History, Women’s and Gender Studies, and Art History. It bridges a gap between broad, cultural histories of women’s artistic production and more focused scholarly studies on women’s labor and organized womanhood. Indeed, this dissertation brings more specificity to these areas by focusing on particular artists who were highly acclaimed during their lifetime but who have since fallen through the cracks of the art historical canon and by attending to the wide array of genres and media that all artists, men and women, worked with during the era: illustration, photography, public sculpture, and the decorative arts. By analyzing the art produced as a result of collaboration; the artists’ letters, photographs, and personal papers; and contemporary mass media, particularly art journals and popular ladies’ magazines, this dissertation recovers the voices of artists who served as professional role models and creates a far more diverse picture of the people and art forms that constituted early modern American visual culture.
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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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Johnson, Julie Anne. "Conflicted Selves: Women, Art, & Paris 1880-1914." Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1591.
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Tolley, Rebecca. "Review of A Studio of Her Own: Women Artists in Boston 1870-1940." Digital Commons @ East Tennessee State University, 2001. https://dc.etsu.edu/etsu-works/5705.
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Fernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.
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This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia artists, continuing into the 1990s and beyond. I will be examining the works of four contemporary female artists and the impetus behind their work. The three main artists whose works will be examined are Brenda L. Croft, Destiny Deacon and Rea all of whom have dealt with issues of representation of the 'Blak female body, gender and reclamation of identity. The thesis will examine the works of these artists in relation to the history of representation by the dominant culture. Chapter 6 will look at a new emerging artist, Dianne Jones, who is looking at similar issues as the artists mentioned. This continuing critique of representation by Jones is testimony of the prevailing issues concerning Aboriginal representation
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Thompson, Susannah Ruth. "Birth pains : changing understandings of miscarriage, stillbirth and neonatal death in Australia in the Twentieth Century." University of Western Australia. School of Humanities, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0150.
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Feminist and social historians have long been interested in that particularly female ability to become pregnant and bear children. A significant body of historiography has challenged the notion that pregnancy and childbirth considered to be the acceptable and 'appropriate' roles for women for most of the twentieth century in Australia - have always been welcomed, rewarding and always fulfilling events in women's lives. Several historians have also begun the process of enlarging our knowledge of the changing cultural attitudes towards bereavement in Australia and the eschewing of the public expression of sorrow following the two World Wars; a significant contribution to scholarship which underscores the changing attitudes towards perinatal loss. It is estimated that one in four women lose a pregnancy to miscarriage, and two in one hundred late pregnancies result in stillbirth in contemporary Australia. Miscarriage, stillbirth and neonatal death are today considered by psychologists and social workers, amongst others, as potentially significant events in many women's lives, yet have received little or passing attention in historical scholarship concerned with pregnancy and motherhood. As such, this study focuses on pregnancy loss: the meaning it has been given by various groups at different times in Australia's past, and how some Australian women have made sense of their own experience of miscarriage, stillbirth or neonatal death within particular social and historical contexts. Pregnancy loss has been understood in a range of ways by different groups over the past 100 years. At the beginning of the twentieth century, when alarm was mounting over the declining birth rate, pregnancy loss was termed 'foetal wastage' by eugenicists and medical practitioners, and was seen in abstract terms as the loss of necessary future Australian citizens. By the 1970s, however, with the advent of support groups such as SANDS (Stillbirth and Neonatal Death Support) miscarriage and stillbirth were increasingly seen as the devastating loss of an individual baby, while the mother was seen as someone in need of emotional and other support. With the advent of new prenatal screening technologies in the late twentieth century, there has been a return of the idea of maternal responsibility for producing a 'successful' outcome. This project seeks to critically examines the wide range of socially constructed meanings of pregnancy loss and interrogate the arguments of those groups, such as the medical profession, religious and support groups, participating in these constructions. It will build on existing histories of motherhood, childbirth and pregnancy in Australia and, therefore, also the history of Australian women.
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Hodge, Pamela. "Fostering flowers: Women, landscape and the psychodynamics of gender in 19th Century Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1435.
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It is said that when the Sphinx was carved into the bedrock of Egypt it had the head as well as the body of Sekhmet lioness Goddess who presided over the rise and fall of the Nile, and that only much later was the head recarved to resemble a male pharaoh. Simon Schama considered the 'making over' of Mount Rushmore to resemble America's Founding Fathers constituted 'the ultimate colonisation of nature by culture … a distinctly masculine obsession (expressing) physicality, materiality and empirical externality,… a rhetoric of humanity's uncontested possession of nature. It would be comforting to think that, although Uluru has become the focus of nationalist myths in Australia, to date it has not been incised to represent Australia's 'Great Men' - comforting that is, if it were not for the recognition that if Australia had had the resources available to America in the 1920s a transmogrified Captain Cook and a flinty Governor Phillip may have been eyeballing the red heart of Australia for the greater part of a century. My dissertation traces the conscious and unconscious construction of gender in Australian society in the nineteenth century as it was constructed through the apprehension of things which were associated with 'nature' -plants, animals, landscape, 'the bush', Aborigines, women. The most important metaphor in this construction was that of women as flowers; a metaphor which, in seeking to sacralise 'beauty' in women and nature, increasingly externalised women and the female principle and divorced them from their rootedness in the earth - the 'earth' of 'nature', and the 'earth' of men's and women's deeper physical and psychological needs. This had the consequence of a return of the repressed in the form of negative constructions of women, 'femininity'" and the land which surfaced in Australia, as it did in most other parts of the Western World, late in the nineteenth century. What I attempt to show in this dissertation is that a negative construction of women and the female principle was inextricably implicated in the accelerating development of a capitalist consumer society which fetishised the surface appearance of easily reproducible images of denatured objects. In the nineteenth century society denatured women along with much else as it turned from the worship of God and ‘nature' to the specularisation of endlessly proliferating images emptied of meaning; of spirituality. An increasing fascination with the appearance of things served to camouflage patriarchal assumptions which lopsidedly associated women with a 'flowerlike' femininity of passive receptivity (or a ‘mad' lasciviousness) and men with a 'masculinity' of aggressive achievement - and awarded social power and prestige to the latter. The psychological explanation which underlies this thesis and unites its disparate elements is that of Julia Kristeva who believed that in the nineteenth century fear of loss of the Christian 'saving' mother - the Mother of God - led to an intensification of emotional investment among men and women in the pre-oedipal all-powerful 'phallic' mother who is thought to stand between the individual and 'the void of nothingness'.
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Miguda, Edith Atieno. "International catalyst and women's parliamentary recruitment : a comparative study of Kenya and Australia 1963-2002 /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09phm6362.pdf.
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Cully, Eavan. "Nationalism, feminism, and martial valor: rewriting biographies of women in «Nüzi shijie» (1904-1907)." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32363.
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This thesis examines images of martial women as they were produced in the biography column of the late Qing journal Nüzi shijie (NZSJ; 1904-1907). By examining the historiographic implications of revised women's biographies, I will show the extent to which martial women were written as ideal citizens at the dawn of the twentieth-century. In the first chapter I place NZSJ in its historical context by examining the journal's goals as seen in two editorials from the inaugural issue. The second and third chapters focus on biographies of individual women warriors which will be read against their original stories in verse and prose. Through these comparisons, I aim to demonstrate how these "transgressive women" were written as normative ideals of martial citizens that would appeal to men and women alike.Cette thèse examine les images de femmes martiales reproduites dans la rubrique biographique du journal Nüzi shijie (NZSJ; 1904-1907) publiée à la fin de la dynastie Qing. En examinant les implications historiographiques des biographies révisées des femmes, j'essai de démontrer l'importance de la façon dont les femmes martiales étaient décrites come citoyennes idéales à l'aube du vingtième siècle. A travers une exploration des objectifs posés par le journal et mis en évidence dans deux éditoriaux extraits du premier numéro du journal, mon premier chapitre essaie de placer le NZSJ dans sa propre contexte historique. Le deuxième et le troisième chapitres se concentrent sur les biographies individuelles des femmes guerrières, lesquelles sont juxtaposés aux histories originales écrites sous forme de vers et prose. A travers ces juxtapositions, mon projet démontre la façon dont ces "femmes transgressives" illustraient l'idéal normatif du citoyen martiale, lequel attirait les hommes ainsi que les femmes.
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Whitehead, Kay. "Women's 'life-work' : teachers in South Australia, 1836-1906 /." Title page, abstract and contents only, 1996. http://web4.library.adelaide.edu.au/theses/09PH/09phw592.pdf.
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Reid, Helen M. J. "Age of transition : a study of South Australian private girls' schools 1875-1925 /." Title page, contents and abstract only, 1996. http://web4.library.adelaide.edu.au/theses/09PH/09phr3545.pdf.
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Rocco, Patricia. "Performing female artistic identity : Lavinia Fontana, Elisabetta Sirani and the allegorical self-portrait in sixteenth and seventeenth-century Bologna." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99389.
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Artemisia Gentileschi's self-portrait, Allegory of Painting, painted in 1630, has activated a complex discussion of female artistic identity in which performance is tied to concerns with status. This thesis addresses an earlier history of development in allegorical self-portraiture in the work of the sixteenth-century Bolognese artist, Lavinia Fontana, and her seventeenth-century successor, Elisabetta Sirani. I argue that the female artist's negotiation for status was played out in the transformation from a more official mode of self presentation, such as Fontana's Self-Portrait at the Keyboard , to a deliberate performative shift of embodied personification in her self-portrait as Judith with the head of Holofernes and her later self portraits as St. Barbara in the Apparition of the Madonna and Child to the Five Saints. This negotiation of artistic status continues with Sirani's self-portraits in Judith and the Allegory of Painting, and as what I suggest are more ambiguous and ambitious representations of anti-heroines, Cleopatra and Circe. I also discuss the important role that the emerging genre of biography plays in the female artist's struggle for status. The thesis explores the shift in visual conventions in relation to discourses of artistic identity, gender and genre---such as the donnesca mano---that circulated in Renaissance historiography in Italy, and more specifically, in the cultural milieu of Bologna.
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David, Elise. "Networks Sketched in Ink: Wu Shujuan (1853-1930) and the Business of Female Celebrity in the Shanghai Art World." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574694405893491.
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McDonald, Michelle. "Selling Utopia marketing the art of the women of Utopia /." Master's thesis, Australia : Macquarie University, 1999. http://hdl.handle.net/1959.14/15101.
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Thesis (MA)--Macquarie University, Institute of Early Childhood.Includes bibliographical references.
Introduction -- Literature review -- A brief history of Utopia's art production; its place in the indigenous art movement -- The role of the wholesaler -- The retail sector -- Report on survey of the buyers of indigenous art -- Emily Kame Kngwarreye -- Authenticity -- Conclusion.
Summary: The thesis focuses on marketing art from the Aboriginal community, Utopia, where the majority of artists, and the best known artists, are women. It documents methods by which the art moves from the community to retail art outlets; it includes detailed documentation of marketing in the retail sector and also includes research into the buying of indigenous art by private buyers. -- Emily Kame Kngwarreye is the best known of the Utopia painters. The study proposes reasons for her success and points to further questions beyond the scope of this study. Problems inherent in criticism and editing of her work are raised and interpreted in the context of the marketplace. -- The original thesis plan did not include detailed discussion about authorship. However, in 1997 the media reported controversy about authorship of a prize-winning work. As such controversy must affect marketing, this topic (as it relates to this artist), was included. -- Although possibilities for improvement in marketing methods have become apparent as a result of this research, areas where further research would be beneficial have also become apparent.
Mode of access: World Wide Web.
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Brankovich, Jasmina. "Burning down the house? : feminism, politics and women's policy in Western Australia, 1972-1998." University of Western Australia. School of Humanities, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0122.
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This thesis examines the constraints and options inherent in placing feminist demands on the state, the limits of such interventions, and the subjective, intimate understandings of feminism among agents who have aimed to change the state from within. First, I describe the central element of a
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Brien, Donna Lee. "The case of Mary Dean : sex, poisoning and gender relations in Australia." Queensland University of Technology, 2003. http://eprints.qut.edu.au/16340/.
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The genre of biography is, by nature, imprecise and limited. Real lives are lived synchronously and diversely; they do not divide spontaneously into chapters, subjects or themes. All biographers construct stories, in the process forcing the disordered complexity of an actual life into a neat literary form. This doctoral submission comprises a book length creative work, Poisoned: The Trials of Mary Dean, and a reflective written component on that creative work, Writing Fictionalised Biography. Poisoned is a biography of Mary Dean, who, although repeatedly poisoned by her husband at the end of the nineteenth century, did not die. This biography, presented in the form of a first-person memoir, is based closely on historical evidence and is supported with discursive notes and a select bibliography. The reflective written component, Writing Fictionalised Biography, outlines the process and challenges of writing a biography when the source material available is inadequate and unreliable. In writing Poisoned my genre solution has been fictionalised biography - biography which is historically diligent while utilising fictional writing strategies and incorporating fictional passages. This written component reflectively discusses how I arrived at that solution. It includes discussion of the sources I utilised in writing Poisoned, including the limitations of trial transcripts and other court records as biographical evidence; useful precursors to the form; the process wherein I located both a form for my fictionalised biography and a voice for my biographical subject; possible models I considered; how I distinguished established fact from speculative supposition in the text; as well as some of the ambivalences and ethical concerns such a narrative process implies.
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Smith, Sandra A. "Uli metamorphosis of a tradition into contemporary aesthetics /." [Kent, Ohio] : Kent State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1267478083.
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Thesis (M.A.)--Kent State University, 2010.Title from PDF t.p. (viewed Apr. 28, 2010). Advisor: Fred Smith. Keywords: Uli; Igbo; Nigeria; body painting; wall painting; Nsukka; traditional women painters. Includes bibliographical references (p.101-105).
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David, Elise J. "Making Visible Feminine Modernities: The Traditionalist Paintings and Modern Methods of Wu Shujuan." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338316520.
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Anderson, Emma Kate School of English UNSW. "Representations of female sexuality in chick-lit texts and reading Anais Nin on the train." Awarded by:University of New South Wales. School of English, 2006. http://handle.unsw.edu.au/1959.4/27319.
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My critical essay uses Foucault???s theory of discursive formation to chart the emergence of the figure of the single modern woman as she is created by the various discourses surrounding her. It argues that representations of the single modern woman continue a tradition of perceiving the female body as a source of social anxiety. The project explores ???chick-lit??? as a site within the discursive formation from which the single modern woman emerges as a paradoxical figure; the paradoxes fundamentally linked to her sexuality. This essay, then, essentially seeks to investigate representations of female sexuality within chick-lit, exposing for scrutiny the paradoxes inherent in and around the figure of the single modern woman. My fictional piece is a work of erotica. It is divided into four sections: The Reader, The Writer, The Muse and The Critic. Essentially it explores the relationships between female sexuality and literature; between female sexuality and feminist, post-feminist and patriarchal values and between literature and issues of truth, perspective and representation. The two works complement each other to illuminate the paradox of female sexuality: one from a theoretical perspective and the other from a fictional perspective. The critical work focuses on female sexuality and its relationship to, and development within, the current social context. Chick-lit, as a new and immensely popular genre of fiction which holistically explores the lives of single modern women was useful for examining the relationship between the sexual persona of the single modern woman and society. The fiction is concerned with a narrower focus: specifically the sexual life of the single modern woman. Through the creative process, it became apparent that working within the genre of ???erotica??? would be not only more useful than working within chick-lit, but more powerful in exploring the themes I was interested in. The creative work draws on numerous points of interest raised in the critical work from, for example, the grander notions of the relationship between object and discourse ??? in this case female sexuality and literature ??? and the female body as a source of social fascination and anxiety to finer observations such as what it means to have sex ???like a man.??? In essence, the creative work seeks to examine the many faces of the single modern woman as a sexual being and to illuminate, on an intimate level, the many conflicts between and surrounding those faces and to suggest that while paradox remains in female sexual ideology, the single modern woman will remain suspended in a kind of sexual paralysis.
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Brien, Donna L. "The case of Mary Dean: Sex, poisoning and gender relations in Australia." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/117977/1/T%20%28CI%29%2094%20-%20THE%20CASE%20OF%20MARY%20DEAN.pdf.
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The genre of biography is, by nature, imprecise and limited. Real lives are lived synchronously and diversely; they do not divide spontaneously into chapters, subjects or themes. All biographers construct stories, in the process forcing the disordered complexity of an actual life into a neat literary form. This doctoral submission comprises a book length creative work, Poisoned: The Trials of Mary Dean, and a reflective written component on that creative work, Writing Fictionalised Biography.
Poisoned is a biography of Mary Dean, who, although repeatedly poisoned by her husband at the end of the nineteenth century, did not die. This biography, presented in the form of a first-person memoir, is based closely on historical evidence and is supported with discursive notes and a select bibliography.
The reflective written component, Writing Fictionalised Biography, outlines the process and challenges of writing a biography when the source material available is inadequate and unreliable. In writing Poisoned my genre solution has been fictionalised biography biography which is historically diligent while utilising fictional writing strategies and incorporating fictional passages. This written component reflectively discusses how I arrived at that solution. It includes discussion of the sources I utilised in writing Poisoned, including the limitations of trial transcripts and other court records as biographical evidence; useful precursors to the form; the process wherein I located both a form for my fictionalised biography and a voice for my biographical subject; possible models I considered; how I distinguished established fact from speculative supposition in the text; as well as some of the ambivalences and ethical concerns such a narrative process implies.
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Brooklyn, Bridget. "Something old, something new : divorce and divorce law in South Australia, 1859-1918." Title page, contents and summary only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phb872.pdf.
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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
Made available in DSpace on 2018-08-22T21:58:15Z (GMT). No. of bitstreams: 1 Tvardovskas_LuanaSaturnino_D.pdf: 48560551 bytes, checksum: 319fe4c4f559ca8407db46edd5d574eb (MD5) Previous issue date: 2013
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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Gunderson, Maryann S. "Dismissed yet Disarming: The Portrait Miniature Revival, 1890-1930." Ohio University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1080666457.
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Booth, Sharron. "Venturing into silences:The silence of water (novel) - and - Convicts, women and Western Australian stories (essay)." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2312.
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This thesis examines the harsh impact of convict transportation on Western Australian life and literary production with a novel, “The Silence of Water”, and an accompanying essay. The Swan River Colony (Western Australia) was established in 1829 with the express intention never to accept convicts; however, almost 10,000 men were transported there from Britain between 1850 and 1868. “The Silence of Water” depicts the life of one convict, Customs and Excise officer and former tailor Edwin Thomas Salt, who was convicted of the murder of his wife, Mary Ann, in Edinburgh in 1860. The case attracted attention in newspapers across Britain partly due to the “extreme provocation” Edwin was said to have suffered because of Mary Ann’s drinking. Edwin’s death sentence was commuted and he was transported to Western Australia in 1862. Edwin later received a conditional pardon that allowed him to live as a free man. In Western Australia he married twice, had more children and worked sporadically as a tailor. He died in Fremantle in 1910. A literate man with no prior convictions, sometimes a drunk and a bully, Edwin Salt differs from the convicts usually depicted in Western Australian fiction. Through the characters of Edwin Salt, his Australian daughter and granddaughter, “The Silence of Water” explores themes of exile, incarceration, family dislocation, secrets and intergenerational silences.
The accompanying essay claims complex convict characters are largely missing from Western Australia’s literature and suggests how “The Silence of Water” claims a place for convicts and the women associated with them in Western Australia’s founding colonial narrative. It also discusses key research frameworks, methods and literary strategies. Chapter one examines how the convict figure functions across a range of novels from 1880 to 2015 and finds that Western Australia’s convict figure differs markedly from that seen in novels from other Australian states. Chapter two examines two research methods used to write the novel: engagement with the archives and engagement with place. It demonstrates how exploration of Edwin Thomas Salt broadened to focus on the women associated with him, driven by a feminist theoretical framework. Chapter three discusses some literary strategies selected for “The Silence of Water” and their rationale, drawing on the work of contemporary Western Australian fiction writers. Overall, the thesis illuminates an under-explored area of Western Australian cultural production and contributes new knowledge about Western Australia’s convict era, the consequences of which are still visible today.
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Adendorff, Delaida Adéle. "The princess in the veld : curating liminality in contemporary South African female art production." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63007.
Full textAbstract:
I aim to showcase post-African female identity through the exhibition, The princess in
the veld. The exhibition displays selected works produced by South African women
artists, underpinned by the proposed curatorial framework. This curatorial approach
is feminist, and may allow for a liminal reading of local female identity. I premise my
theorised curatorial framework liminally, in-between binary oppositions. This position
allows for a feminist position and/or reading of female identities that simultaneously
allude to, and reject a so-called local (essentialised) women’s art production within
the ambit of global, Western dominated feminism. I argue that, for such a display to
be successful, an alternative curatorial space is needed. For this purpose, I introduce
the notion of heterotopia, a counter-space, to renegotiate binaries and to render
identity formations temporarily in-between prevailing norms. This heterotopic
counter-curatorial space is realised through an exhibition that employs the medium of
video, rather than conventional exhibition media installed in real space.
An exploration of specified key local and international survey exhibitions
foregrounding women’s concerns from the 1980s onwards, serves to inform my
theorised curatorial framework. The research embarks on an investigation of a recent
large-scale exhibition hosted in France, to gain an understanding of the pitfalls
prevalent in curating an exhibition of artwork produced by women. From a feminist
standpoint, I critically analyse this display to suggest more inclusive alternative
curatorial strategies to shift the conventionally Western approach followed by this
curator.
The revisionist, feminist, re-reading of certain South African curated exhibitions from
both the apartheid and post-apartheid periods proposes a feminist trajectory that
follows the shaping of local women’s identities, which remain deeply inscribed in this
country’s politics and histories. This section of the survey underlines local post-
African female identity as liminal and in flux, through the investigation of seminal
exhibitions and artworks produced by South African women. I argue that this liminal
account allows for an inclusive and extended understanding of women, while
explicating the South African multicultural dispensation wherein the post-African
woman operates.Thesis (DPhil)--University of Pretoria, 2017.
National Research Foundation
University of Pretoria
Visual Arts
DPhil
Unrestricted
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O'Sullivan, Therese Anne. "The relationship between glycemic intake and insulin resistance in older women." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/17814/1/Therese_Anne_O%27Sullivan_Thesis.pdf.
Full textAbstract:
Glycemic intake influences the rise in blood glucose concentration following consumption of a carbohydrate containing meal, known as the postprandial glycemic response. The glycemic response is a result of both the type and amount of carbohydrate foods consumed and is commonly measured as the glycemic index (GI) or glycemic load (GL), where the GI is a ranking in comparison to glucose and the GL is an absolute value encompassing both the GI and amount of carbohydrate consumed. Evidence from controlled trials in rat models suggests that glycemic intake has a role in development of insulin resistance, however trials and observational studies of humans have produced conflicting results. As insulin resistance is a precursor to type 2 diabetes mellitus, lifestyle factors that could prevent development of this condition have important public health implications. Previous observational studies have used food frequency questionnaires to assess usual diet, which could have resulted in a lack of precision in assessment of individual serve sizes, and have been limited to daily measures of glycemic intake. Daily measures do not take fluctuations in glycemic intake on a per meal basis into account, which may be a more relevant measure for investigation in relation to disease outcomes. This PhD research was conducted in a group of Brisbane women aged 42 to 81 years participating in the multidisciplinary Brisbane Longitudinal Assessment of Ageing in Women (LAW study). Older women may be at particular risk of insulin resistance due to age, hormonal changes, and increases in abdominal obesity associated with menopause, and the LAW study provided an ideal opportunity to study the relationship between diet and insulin resistance. Using the diet history tool, we aimed to assess the glycemic intake of the population and hypothesised that daily GI and daily GL would be significantly positively associated with increased odds of insulin resistant status. We also hypothesised that a new glycemic measure representing peaks in GL at different meals would be a stronger predictor of insulin resistant status than daily measures, and that a specially designed questionnaire would be an accurate and repeatable dietary tool for assessment of glycemic intake. To address these hypotheses, we conducted a series of studies. To assess glycemic intake, information on usual diet was obtained by detailed diet history interview and analysed using Foodworks and the Australian Food and Nutrient (AUSNUT) database, combined with a customised GI database. Mean ± SD intakes were 55.6 ± 4.4% for daily GI and 115 ± 25 for daily GL (n=470), with intake higher amoung younger participants. Bread was the largest contributor to intakes of daily GI and GL (17.1% and 20.8%, respectively), followed by fruit (15.5% and 14.2%, respectively). To determine whether daily GI and GL were significantly associated with insulin resistance, the homeostasis model assessment of insulin resistance (HOMA) was used to assess insulin resistant status. Daily GL was significantly higher in subjects who were insulin resistant compared to those who were not (134 ± 33 versus 114 ± 24 respectively, P<0.001) (n=329); the odds of subjects in the highest tertile of GL intake being insulin resistant were 12.7 times higher when compared with the lowest tertile of GL (95% CI 1.6-100.1, P=0.02). Daily GI was not significantly different in subjects who were insulin resistant compared to those who were not (56.0 ± 3.3% versus 55.7 ± 4.5%, P=0.69). To evaluate whether a new glycemic measure representing fluctuations in daily glycemic intake would be a stronger predictor of insulin resistant status than other glycemic intake measures, the GL peak score was developed to express in a single value the magnitude of GL peaks during an average day. Although a significant relationship was seen between insulin resistant status and GL peak score (Nagelkerke’s R2=0.568, P=0.039), other glycemic intake measures of daily GL (R2=0.671, P<0.001) and daily GL per megajoule (R2=0.674, P<0.001) were stronger predictors of insulin resistant status. To develop an accurate and repeatable self-administered tool for assessment of glycemic intake, two sub-samples of women (n=44 for the validation study and n=52 for the reproducibility study) completed a semi-quantitative questionnaire that contained 23 food groupings selected to include the top 100 carbohydrate foods consumed by the study population. While there were significant correlations between the glycemic intake questionnaire and the diet history for GL (r=0.54, P<0.01), carbohydrate (r=0.57, P<0.01) and GI (r=0.40, P<0.01), Bland-Altman plots showed an unacceptable difference between individual intakes in 34% of subjects for daily GL and carbohydrate, and 41% for daily GI. Reproducibility results showed significant correlations for daily GL (r=0.73, P<0.001), carbohydrate (r=0.76, P<0.001) and daily GI (r=0.64, P<0.001), but an unacceptable difference between individual intakes in 25% of subjects for daily GL and carbohydrate, and 27% for daily GI. In summary, our findings show that a significant association was observed between daily glycemic load and insulin resistant status in a group of older women, using a diet history interview to obtain precise estimation of individual carbohydrate intake. Both the type and quantity of carbohydrate are important to consider when investigating relationships between diet and insulin resistance, although our results suggest the association is more closely related to overall daily glycemic intake than individual meal intake variations. A dietary tool that permits precise estimation of carbohydrate intake is essential when evaluating possible associations between glycemic intake and individual risk of chronic diseases such as insulin resistance. Our results also suggest that studies using questionnaires to estimate glycemic intake should state degree of agreement as well as correlation coefficients when evaluating validity, as imprecise estimates of carbohydrate at an individual level may have contributed to the conflicting findings reported in previous studies.
33
O'Sullivan, Therese Anne. "The relationship between glycemic intake and insulin resistance in older women." Queensland University of Technology, 2008. http://eprints.qut.edu.au/17814/.
Full textAbstract:
Glycemic intake influences the rise in blood glucose concentration following consumption of a carbohydrate containing meal, known as the postprandial glycemic response. The glycemic response is a result of both the type and amount of carbohydrate foods consumed and is commonly measured as the glycemic index (GI) or glycemic load (GL), where the GI is a ranking in comparison to glucose and the GL is an absolute value encompassing both the GI and amount of carbohydrate consumed. Evidence from controlled trials in rat models suggests that glycemic intake has a role in development of insulin resistance, however trials and observational studies of humans have produced conflicting results. As insulin resistance is a precursor to type 2 diabetes mellitus, lifestyle factors that could prevent development of this condition have important public health implications. Previous observational studies have used food frequency questionnaires to assess usual diet, which could have resulted in a lack of precision in assessment of individual serve sizes, and have been limited to daily measures of glycemic intake. Daily measures do not take fluctuations in glycemic intake on a per meal basis into account, which may be a more relevant measure for investigation in relation to disease outcomes. This PhD research was conducted in a group of Brisbane women aged 42 to 81 years participating in the multidisciplinary Brisbane Longitudinal Assessment of Ageing in Women (LAW study). Older women may be at particular risk of insulin resistance due to age, hormonal changes, and increases in abdominal obesity associated with menopause, and the LAW study provided an ideal opportunity to study the relationship between diet and insulin resistance. Using the diet history tool, we aimed to assess the glycemic intake of the population and hypothesised that daily GI and daily GL would be significantly positively associated with increased odds of insulin resistant status. We also hypothesised that a new glycemic measure representing peaks in GL at different meals would be a stronger predictor of insulin resistant status than daily measures, and that a specially designed questionnaire would be an accurate and repeatable dietary tool for assessment of glycemic intake. To address these hypotheses, we conducted a series of studies. To assess glycemic intake, information on usual diet was obtained by detailed diet history interview and analysed using Foodworks and the Australian Food and Nutrient (AUSNUT) database, combined with a customised GI database. Mean ± SD intakes were 55.6 ± 4.4% for daily GI and 115 ± 25 for daily GL (n=470), with intake higher amoung younger participants. Bread was the largest contributor to intakes of daily GI and GL (17.1% and 20.8%, respectively), followed by fruit (15.5% and 14.2%, respectively). To determine whether daily GI and GL were significantly associated with insulin resistance, the homeostasis model assessment of insulin resistance (HOMA) was used to assess insulin resistant status. Daily GL was significantly higher in subjects who were insulin resistant compared to those who were not (134 ± 33 versus 114 ± 24 respectively, P<0.001) (n=329); the odds of subjects in the highest tertile of GL intake being insulin resistant were 12.7 times higher when compared with the lowest tertile of GL (95% CI 1.6-100.1, P=0.02). Daily GI was not significantly different in subjects who were insulin resistant compared to those who were not (56.0 ± 3.3% versus 55.7 ± 4.5%, P=0.69). To evaluate whether a new glycemic measure representing fluctuations in daily glycemic intake would be a stronger predictor of insulin resistant status than other glycemic intake measures, the GL peak score was developed to express in a single value the magnitude of GL peaks during an average day. Although a significant relationship was seen between insulin resistant status and GL peak score (Nagelkerke’s R2=0.568, P=0.039), other glycemic intake measures of daily GL (R2=0.671, P<0.001) and daily GL per megajoule (R2=0.674, P<0.001) were stronger predictors of insulin resistant status. To develop an accurate and repeatable self-administered tool for assessment of glycemic intake, two sub-samples of women (n=44 for the validation study and n=52 for the reproducibility study) completed a semi-quantitative questionnaire that contained 23 food groupings selected to include the top 100 carbohydrate foods consumed by the study population. While there were significant correlations between the glycemic intake questionnaire and the diet history for GL (r=0.54, P<0.01), carbohydrate (r=0.57, P<0.01) and GI (r=0.40, P<0.01), Bland-Altman plots showed an unacceptable difference between individual intakes in 34% of subjects for daily GL and carbohydrate, and 41% for daily GI. Reproducibility results showed significant correlations for daily GL (r=0.73, P<0.001), carbohydrate (r=0.76, P<0.001) and daily GI (r=0.64, P<0.001), but an unacceptable difference between individual intakes in 25% of subjects for daily GL and carbohydrate, and 27% for daily GI. In summary, our findings show that a significant association was observed between daily glycemic load and insulin resistant status in a group of older women, using a diet history interview to obtain precise estimation of individual carbohydrate intake. Both the type and quantity of carbohydrate are important to consider when investigating relationships between diet and insulin resistance, although our results suggest the association is more closely related to overall daily glycemic intake than individual meal intake variations. A dietary tool that permits precise estimation of carbohydrate intake is essential when evaluating possible associations between glycemic intake and individual risk of chronic diseases such as insulin resistance. Our results also suggest that studies using questionnaires to estimate glycemic intake should state degree of agreement as well as correlation coefficients when evaluating validity, as imprecise estimates of carbohydrate at an individual level may have contributed to the conflicting findings reported in previous studies.
34
White, Deborah. "Masculine constructions : gender in twentieth-century architectural discourse : 'Gods', 'Gospels' and 'tall tales' in architecture." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phw5834.pdf.
Full textAbstract:
Includes 2 previously published journal articles by the author: Women in architecture: a personal reflection ; and, "Half the sky, but no room of her own", as appendices. Includes bibliographical references (p. 233-251) An examination of some texts influential in the discourse of Australian architecture in the twentieth century. Explores from a feminist standpoint the gendered nature of discourse in contemporary Western architecture from an Australian perspective. The starting point for the thesis was an examination of Australian architectual discourse in search of some explanation for the continuing low numbers of women practitioners in Australia. Hypothesizes that contemporary Western architecture is imbued with a pervasive and dominant masculinity and that this is deeply imbedded in its discursive constructions: the body housed by architecture is assume to be male, the mind which produces architecture is assumed to be masculine. Given the cultural location of Australian architecture as a marginal participant in the wider arena of contemporary Western / international discourses, focuses on writing about two iconic figues in Western architecture; Le Corbusier, of international reknown; and, Glenn Murcutt, of predominantly local significance.
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Oliveira, Edilaine Matos de. "Herstory: representações de histórias de vida por mulheres artistas brasileiras desde a segunda metade do século XX." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/27793.
Full textAbstract:
O Relatório de Trabalho de Projecto Herstory: Representações de
histórias de vida por mulheres artistas brasileiras desde a segunda metade do
século XX teve como objectivo principal investigar de que modo e em que
contexto social e cultural, desde meados do século XX aos nossos dias, as
mulheres artistas brasileiras representaram e deram visibilidade às suas
histórias de vida e de outras minorias através dos seus trabalhos artísticos.
Esta investigação teve como pano de fundo as artes visuais e a história
de arte, e como objecto de estudo as obras das artistas brasileiras Ligia Clark,
Lygia Pape, Márcia X, Adriana Varejão, Fabiana Faleiros e Priscila Rezende. As
suas obras, serviram como inspiração das instalações fotográficas e
performances que realizei ao longo do Curso de Mestrado em Práticas Artísticas
em Artes Visuais.
O meu percurso académico na área do marketing e do jornalismo, seguido
de um historial profissional como radialista, jornalista e fotógrafa, levaram-me a
explorar diferentes possibilidades de expressão através da fotografia e da
performance corporal, de forma a conseguir alcançar públicos de leitores e de
ouvintes distintos. Nesse sentido, a motivação para esta pesquisa e a escolha
da performance e da fotografia como suporte das minhas obras nasceu de
experiências vividas ao longo do meu percurso pessoal e profissional.
Estes trabalhos artísticos centraram-se em um conjunto de questões e
reflexões, ligadas às minhas experiências e vivências pessoais e profissionais
enquanto mulher, brasileira, imigrante, estudante de belas-artes e fotógrafa. Esta
pesquisa socorreu-se das análises e de conceitos das pensadoras e
historiadoras Heloísa Buarque de Hollanda, Linda Nochlin, Roberta Barros e,
Ana Gabriela Macedo; ABSTRACT:
The Herstory Project Work Report: Representations of life stories by
Brazilian women artists since the second half of the twentieth century aimed to
investigate how and in what social and cultural context, from the mid-twentieth
century to our day, Brazilian women artists represented and gave visibility to their
life and other minority stories through their artwork.
This research had as background the visual arts and art history, and as
object of study the works of the Brazilian artists Ligia Clark, Lygia Pape, Márcia
X, Adriana Varejao, Fabiana Faleiros and Priscila Rezende. His works served as
inspiration for the photographic installations and performances that I conducted
during the Master Course in Artistic Practice in Visual Arts.
My academic background in marketing and journalism, followed by a
professional background as a broadcaster, journalist and photographer, led me
to explore different possibilities of expression through photography and body
performance, in order to reach readers and readers alike. from distinct listeners.
In this sense, the motivation for this research and the choice of performance and
photography as support for my works was born from experiences lived along my
personal and professional career.
These works focused on a set of questions and reflections, linked to my
personal and professional experiences as a woman, Brazilian, immigrant, student
of fine art and photographer. This research used the analysis and concepts of
thinkers and historians Heloísa Buarque de Hollanda, Linda Nochlin, Roberta
Barros and Ana Gabriela Macedo
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Alaybani, Rasmyah. "Words and Images:Women’s Artistic Representations in Novels and Fine Art in the Kingdom of Saudi Arabia 2005-2017." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1565009668743079.
Full text
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Jarrett, Jennifer Ann. "Catholic bodies a history of the training and daily life of three religious teaching orders in New South Wales, 1860 to 1930 /." Connect to full text, 2003. http://hdl.handle.net/2123/5673.
Full text
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Merlin, Monica. "The late Ming courtesan Ma Shouzhen (1548-1604) : visual culture, gender and self-fashioning in the Nanjing pleasure quarter." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:0da584bf-16fc-4372-8a1b-b97afd3bcf8a.
Full textAbstract:
Ma Shouzhen (1548-1604) was a cultured courtesan who lived in the famous pleasure quarter along the Qinhuai River in Nanjing, the southern capital of the Ming dynasty (1368-1644). She was talented in dance and music, painting and poetry, and surprisingly for her time, she was also a playwright. Although she was a celebrity of the prolific Nanjing cultural milieu and there is a good corpus of extant material by and about her, the particular contribution of Ma Shouzhen - her character and her work - have been marginalised, or even neglected, by the previous scholarship. This thesis is a cross-disciplinary study of Ma Shouzhen and is the first in-depth scholarly investigation into the entirety of her activities. It employs material and methods traditionally pertaining to the disciplines of sinology, history, art history, literary and drama studies. The thesis has a dual aim: first, to provide a nuanced understanding of the courtesan, her cultural production and social practice; second, to reclaim the agency and legacy of her character within the cultural milieu of late Ming Nanjing and beyond. These aims will be achieved through two main research objectives: (1) recovering and re-evaluating visual and written sources by and about the courtesan; (2) investigating those sources in order to comprehend her modes of self-representation and strategies of self-fashioning, analysed especially through the lens of gender. The main body of the thesis is composed of an introduction, five core chapters, and an epilogue; the chapters are structured so as to provide as complete a picture of Ma Shouzhen as possible. Chapter Two explores the space of the pleasure quarter, Ma’s biography and its entwinement within the complexities of the historical moment. Chapter Three focuses on her painting, Chapter Four considers her poetry, and Chapter Five explores her theatre practice; Chapter Six extends the investigation to focus on the construction of Ma’s historical character in later decades. In its content and aims, this thesis contributes to women’s and gender history, as well as to studies in visual culture and literature.
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Mayne, Patricia Anne. "A history of TAMAR (1996-2008) in relation to the Anglican Church of Australia in general and the Diocese of Sydney in particular. TAMAR (Towards A More Appropriate Response) was formed by a group of Sydney Anglican women to address the issue of sexual abuse in the Australian Anglican Church." Thesis, Australian Catholic University, 2016. https://acuresearchbank.acu.edu.au/download/eabcf422e231b2b679dae250ca2877917f8f111b144b5e0f343b2ca5a1e20c9c/35209611/Mayne_2016_A_history_of_tamar_in_relation_to.pdf.
Full textAbstract:
TAMAR (Towards A More Appropriate Response) was established in 1996 by a small group of Sydney Anglican women, many of whom belonged to the sexually abused community. These women through their experiences and led by their Christian spirituality, integrated with justice and mercy were compelled to address the issue of sexual abuse in the Anglican Church of Australia with particular reference to the Diocese of Sydney. Without power, authority and history these women were at the other end of the spectrum when compared with the Anglican Church of Australia...
40
Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.
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Girouard, Kim. "Médicaliser au féminin : quand la médecine occidentale rencontre la maternité en Chine du Sud, 1879-1938." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN062/document.
Full textAbstract:
Cette thèse examine le processus de la médicalisation de la maternité dans la province méridionale chinoise du Guangdong entre 1879 et 1938. En explorant ce phénomène à travers l’œuvre médicale missionnaire menée dans la région, cette analyse tente de voir comment la prise en charge médicale des parturientes, puis des futures et nouvelles mères chinoises a pu se traduire sur le terrain, en parallèle ou en dehors des politiques gouvernementales pour le moins limitées. Elle met particulièrement en lumière les manifestations locales de ce processus et l’appréhende selon la perspective des principales concernées : les femmes.Espérant convertir les populations féminines, les missionnaires chrétiens présents dans le Guangdong, particulièrement ceux appartenant à la mission presbytérienne américaine, ont développé une offre de soins qui répondait à la norme sociale chinoise de la ségrégation sexuelle. Au sein des établissements de santé spécialisés ou adaptés à l’accueil des femmes, ils ont également organisé des maternités, ainsi que des services de santé maternelle et infantile, chargés d’étendre la prise en charge des parturientes en amont et en aval de l’accouchement. Si leurs efforts ont pu être en partie freinés par la double position de subordination qu’occupaient les femmes dans l’organisation sociale confucéenne, il n’en reste pas moins que les missionnaires ont rencontré plus d’une sociétés chinoises dans le sud de la Chine et que certaines de ces particularités locales ont facilité, dans une certaine mesure, leurs efforts de médicalisation. Étant moins soumises à la ségrégation des sexes et plus impliquées dans l’économie familiale, y compris en dehors du foyer, qu’ailleurs en Chine, les femmes du Guangdong ont été relativement nombreuses à compléter des formations médicales et infirmières dans les programmes missionnaires. Par conséquent, la profession médicale a connu une véritable féminisation/sinisation, et cette région du monde s’est révélée être un terrain beaucoup plus propice à l’innovation sociale et à l’émancipation des femmes que bien des pays occidentaux. Principales forces motrices de la médicalisation de la maternité, les femmes, professionnelles comme profanes, soignantes comme patientes, n’ont pas que reçu passivement les normes, les savoirs et les pratiques de la médecine occidentale. Elles ont négociés ce modèle sur la base de leurs repères socioculturels et ont contribué à en redessiner les contours, faisant passer la médicalisation par un réel processus de naturalisationThis thesis examines the medicalization of maternity in the southern Chinese province of Guangdong between 1879 and 1938. By exploring this phenomenon through the medical missionary work carried out in the region, this analysis tries to understand how the medical care of the Chinese parturients and mothers was implemented on the ground, alongside or outside the limited government policies of the time. It highlights the local manifestations of this process and examine it from the perspective of those who are most involved: the women.The Christian missionaries in Guangdong, especially those belonging to the American Presbyterian Mission, hoped to convert the female population and developed care services that met the Chinese social norms and expectations of gender segregation. In specialized or adapted health facilities, they also organized maternity hospitals, as well as maternal and child health services, which aimed to extend the care before and after delivery. While their efforts may have been partially hampered by the doubly-subordinate position of women in Confucian social organization, the missionaries encountered more than one Chinese society in the south of the country. Some local features may have facilitated their efforts to bring Western medicine to the population.Being less subject to gender segregation and more involved in the family economy than other Chinese women, many women in Guangdong completed medical and nursing training in mission programs. As a result, the medical profession experienced a genuine feminization and sinicization. Moreover, this region of the world proved to be much more conducive to social innovation and women's emancipation than some of the Western countries from which the missionaries came. As the main driving forces in the medicalization of maternity, women (both professionals and non professionals, as caregivers or as patients), did not just passively receive and accept the norms, knowledges and practices of Western medicine. Rather, they negotiated them on the basis of their own socio-cultural values and, by doing so, helped to reshape their contours. In this way, medicalization became, at the same time, a process of naturalization
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Topliss, Helen. "Australian female artists and modernism, 1900-1940." Phd thesis, 1992. http://hdl.handle.net/1885/133859.
Full textAbstract:
The thesis provides a revaluation of the art of Australian women artists in the
period 1900-1940. In the first instance, this study attempts to answer the
question posed by a number of male historians: "Why were there so many
succesful Australian women artists in the period between the two world wars?"
My answer has involved the analysis of three major phenomena:
1. The women's emancipation movement which enfranchised women and
gave them the key to education and subsequently to the professions.
2. The women artists of the early twentieth century were the direct benefactors
of the women's movement, the confidence that the new woman acquired
enabled her to continue her studies abroad for the first time in significant
numbers.
3. Women artists became identified with modernism and also for their
contribution to the arts and crafts movement. Critics have noted that there was
a large proportion of women artists involved with various aspects of the
modernist movement. The question has not been examined before in
Australian art because there has not been any enquiry into their collective
artistic genealogies, nor has the interconnectedness of much of their art been
noticed before. When this is analysed, it becomes clear that women had a
special affinity with aspects of modernism because of their gendered artistic
education in the nineteenth century which rendered them particularly sensitive
to some aspects of modernism. This is clear in most of the case studies of the
women artists whose careers I examine here.
My study has been conducted from the point of view established by certain
feminist critics and art historians whose theories have provided an important
perspective on the art of this period. This perspective is a necessary one, it
hinges on the concepr of "difference" in women's artistic expression. This
theory of "difference" also provides a parallel to the sociological study of women's liberation at the beginning of this century (the data for which IS
provided in the Appendices at the end of the thesis). The theory of "difference"
can be seen to link up with an analysis of gendered art education and thus
facilitates an understanding of why it was that so many women readily
pursued the criteria for modernist art.
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Smith, Avis Carol. "Changing fortunes: the history of China Painting in South Australia." 2009. http://hdl.handle.net/2440/59391.
Full textAbstract:
This thesis addresses a gap in research regarding South Australian china painting. Although china painting has been practised in Australia for the last 120 years and is held in major Australian collections, it has been little researched and then in a minor role associated with ceramics and studio potters, or as women’s art/craft. The china painters too, have been little researched. My research identifies the three ‘highs’ of the changing fortunes of china painting, and how the practice survived in between. I argue that it was first taught in the city’s School of Design, Painting and Technical Art in 1894 as a skill for possible industrial employment, due to the initiative of School Principal, Harry Pelling Gill. However china painting classes were discontinued by 1897 due to an economic depression and the fact that the anticipated industry did not eventuate. In 1906 china painting classes were reinstituted in the (re-named) Adelaide School of Art and teacher Laurence Howie was pivotal in that revival. China painting classes ceased during the First World War while Howie served overseas in the Australian Forces, but resumed in 1923 after his return and appointment as Principal of the (renamed) School of Arts and Crafts. The resulting change in the fortunes of china painting was the outcome of the School’s appropriate training in art and design, and I argue this enabled emerging professional female artists to confidently exhibit china painting alongside their fine art. I will devote a chapter to the important role of the South Australian Society of Arts in facilitating this important public exposure of china painting. The Second World War marked a decline in popularity of china painting. Chapter 5 traces its survival till it burst into popularity again in 1965. Further chapters describe china painting’s following meteoric rise in fortune and the role played by the South Australian teachers of the art/craft, few of whom had received formal art training. I argue that china painting became a conservative social craft, but nonetheless a serious hobby, pursued by married, middle-class women who strongly believed their work was art, not craft. I will point out how they were visited and influenced by entrepreneurial American teachers, politically active in the art/craft debate in the United States of America. Chapter 8 will chart the steps taken by Australian teachers in the 1980s to break from the American influence and regain an Australian identity in teachers’ organisations and iconography. I will describe the debates that ensued following experimental work exhibited by avant-garde Australian teachers to resolve the art/craft debate regarding china painting in Australia, and the difficulties of maintaining china painting momentum as the majority of practitioners became elderly women. This thesis identifies education of the practitioners as a key factor throughout South Australian china painting history as a way of better understanding the place of china painting within the decorative arts. China painting is currently in decline; nevertheless, as I will point out in my conclusion, there are several future pathways it could take. Only within recent decades have curators and writers shown an increased interest in women’s decorative arts, including china painting. It is timely to undertake research before existing documentation of china painting is lost.http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1374281
Thesis (Ph.D.) -- University of Adelaide, School of History and Politics, 2009
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McBride, Margaret. "Changing the art culture of Newcastle: the contribution of the Low Show Group of artists." Thesis, 2010. http://hdl.handle.net/1959.13/928250.
Full textAbstract:
Research Doctorate - Doctor of Philosophy (PhD)Beginning in 1961, the Low Show Group was an active collective of women artists, exhibiting in Newcastle. The group members were Norma Allen, Mary Beeston, Betty Cutcher (Beadle), Elizabeth Martin, Lillian Sutherland and Rae Richards. Madeleine Scott Jones and Lovoni Webb also exhibited in later Low Show Group exhibitions. These artists continued to work independently and Richards is still making and exhibiting art. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action, is used as a framework to examine the success of the Low Show group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. Newcastle’s background as a convict settlement and an industrial centre had developed a working class culture with a strong masculine influence. While some individual women artists were able to develop a career in fine arts, there was a long battle to establish a city art gallery and in 1961 there were no commercial galleries. The formation of the Low Show Group is shown to be as much about the society in which they lived as their artistic ambitions. The development of the Newcastle Technical Art School, and the formation of the Newcastle University College, was identified as the catalyst for the initial flowering of fine art. The experience of the Low Show artists first as students of this school, and in some cases as teachers, was the impetus for their desire to develop careers as professional artists. This evaluation of their contribution to the fine arts indicates how the contribution of this regional group of artists was important in paving the way for the present growth and a promising future of the fine arts in Newcastle.
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Rycroft, Vanessa. "South African history painting : reinterpretation by women artists." Thesis, 1996. http://hdl.handle.net/10413/5723.
Full textAbstract:
The title of this thesis 'South African History Painting : Reinterpretation By Women Artists' indicated that the focus was to be on South African history painting. As the research progressed, however, it became apparent that the initial title did not encompass a broad enough spectrum. Therefore a more suitable title for this dissertation is 'A Visual Reinterpretation Of Aspects Of South African History By Women Artists: Penelope Siopis and Philippa Skotnes'. It is the intention of this dissertation to examine the way in which two contemporary South African women artists namely, Penelope Siopis (1953-) and Philippa Skotnes (1957) visually challenge in their
paintings and prints respectively the conventional depictions of recorded South African history. Poststructuralism, deconstruction, new historicism and Postmodernism are among the theoretical currents upon which this research is based. It is from a Postmodern standpoint that selected works by Siopis and Skotnes will be analysed. The intention of this analysis is to examine their attempts to access the Postcolonial condition in South Africa
through their visual presentations. The work of Siopis and Skotnes
reflectects an interest in Postcoloniality. Furthernore, their visual
imagery addresses questions of culture and power in South African
visual representation. Works such as those created by Siopis and
Skotnes can be seen as uncovering some of the contradictions within the
process of decolonization. Nederveen, Pieterse and Parekh (1995 )
describe decolonization in the following way:
'Decolonization is a process of emancipation through mirroring, a mix of defiance and mimesis. Like colonialism itself, it is deeply preoccupied with boundaries - boundaries of territory and identity, borders of nation and
state. (Nederveen, Pieterse and Parekh 1995: 11)'
The focus in this dissertation is on the works of Siopis and Skotnes
and their use of specific deconstructive methods to undermine
prejudicial historical imagery and question established perceptions
within South African history. In other words, the visual presentation
of these two artists explores the boundaries or margins of established
history. Both Siopis and Skotnes confront in visual terms the prejudicial representations of women and/or ethnic groups who have been
subjugated by what they perceive as white, middle class, patriarchal history. The primary concern of the research is the visual imagery produced by these two artists and the effect of deconstruction on their respective
art works. In the first chapter selected works from Siopis's 'History
Painting' (1980s) series are to be analysed. In the second chapter the focus is on Skotnes's etchings in 'Sound From The Thinking Strings' (1993) exhibition. The investigation then moves to a project entitled 'Miscast' (1996). Skotnes was the curator of the 'Miscast' exhibition. It does not contain original art works by Skotnes. It is however an extension of the ideas which her prints embody and is therefore relevant to this dissertation.Thesis (M.A.)-University of Natal, Pietermaritzburg, 1996.
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Phillips, Dimity. "Impressions of distance : a study of women printmakers practising in regional Australia 1993-2003." Phd thesis, 2005. http://hdl.handle.net/1885/150792.
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Bojic, Zoja. "Emigre artists of Slav cultural heritage working in Australia in the 20th century." Phd thesis, 2005. http://hdl.handle.net/1885/150566.
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Filippone, Christine. "Science, technology and utopias in the work of contemporary women artists." 2009. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.000051344.
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Kühl, Tania. "Personal history and collective memory : images of social and political history in the art of four South African women artists." Thesis, 2010. http://hdl.handle.net/10413/1043.
Full textAbstract:
This study examines the means by which four South African woman artists, namely Penny Siopis, Jo Ractliffe, Lien Botha and Tania Kühl use memory and history as themes to represent social and political events in South Africa. The foundation of this investigation is a critical study of the meaning of history and memory within the context of the candidate’s contemporary social and political milieu. This investigation is facilitated by a number of published and unpublished works by various authors relating to the issues in visual arts; particularly social and political history as applied to personal memory and history. Chapter one explores these terms particularly in relation to the visual arts. Chapter one identifies terms that are vital to the dissertation and some of the literature and methodologies used in the research. These are divided into the subheadings of: terms; women, politics and art; art and documentary photography; literature review; methodology and conclusion.. Examples of each artist’s work are selected for a comprehensive analysis in chapter two. These examples are methodically studied by media and techniques used to produce the artworks and include a critical analysis of the subject matter of the artwork. The examples were selected primarily for their content in connection with the candidate’s own productions of practical work towards the MAFA degree. Chapter two is divided into four main sections, one dedicated to each artist: Penny Siopis, Jo Ractliffe, Lien Botha and Tania Kühl. These four sections are divided into three subsections: medium and techniques; subject matter and conclusion. Chapter three points out similarities and differences in the work of the four selected artists in order to conclude the candidate’s findings during the dissertation.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.
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McBride, Margaret. "Changing the art culture of Newcastle: the contribution of the Low Show Group of artists." Thesis, 2010. http://hdl.handle.net/1959.13/1048161.
Full textAbstract:
Research Doctorate - Doctor of Philosophy (PhD)Beginning in 1961, the Low Show Group was an active collective of women artists, exhibiting in Newcastle. The group members were Norma Allen, Mary Beeston, Betty Cutcher (Beadle), Elizabeth Martin, Lillian Sutherland and Rae Richards. Madeleine Scott Jones and Lovoni Webb also exhibited in later Low Show Group exhibitions. These artists continued to work independently and Richards is still making and exhibiting art. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action are used as a framework to examine the success of the Low Show Group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action are used as a framework to examine the success of the Low Show Group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. The development of the Newcastle Technical College Art School, and the formation of the Newcastle University College, was identified as the catalyst for the initial flowering of fine art. The experience of the Low Show Group artists first as students of this new art school, and in some cases as teachers, was the impetus for their desire to develop careers as professional artists. This evaluation of their contribution to the fine arts indicates how the contribution of this regional group of artists was important in paving the way for the present growth and promising future of the fine arts in Newcastle.