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Kreiter, Maximilian. "Oberflächenplasmonen-artige Resonanzen auf metallischen Gittern". [S.l. : s.n.], 2000. http://ArchiMeD.uni-mainz.de/pub/2000/0074/diss.pdf.
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Stadler, Daniel Eberhard. "Diastereoselektive SN1-artige C-C-Verknüpfungen". München Verl. Dr. Hut, 2009. http://d-nb.info/993731287/04.
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Erbili, Darin. "Tredjelandsöverföring av personuppgifter: en jämförelse mellan artikel 45, artikel 46 och artikel 49 GDPR". Thesis, Stockholms universitet, Juridiska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-171015.
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The introduction of algorithms has for companies led to new ways of marketing themselves. However, access to personal data is needed for a company to successfully use an algorithm, which means companies can trade with our personal data. Personal data is therefore no longer used solely for nonprofit purposes but has rather acquired a financial value. This has led to new challenges in terms of third country transfer of personal data, which requires legislation that can effectively protect personal data. Within the EU, the General Data Protection Legislation (GDPR) regulates how personal data can be transferred to a third country. Article 45 GDPR, which contains the first requirement for third country transfers, states that transfers are only permitted based on an adequacy decision issued by the Commission. On the basis, inter alia, of the annulment of the Safe Harbor decision, by the European Court of Justice, and the criticism that has been addressed towards the Privacy Shield decision, questions are raised if there are reason for companies to make third country transfers based on the alternative provisions in article 46 and article 49 GDPR. The aim of this thesis is to examine the possibilities of making third country transfers according to articles 45, 46 and 49 GDPR by making a comparison that has been made from an individual- and company perspective. The research questions have been focused on the content of the adequacy decisions concerning USA, Switzerland, Canada, Israel and Japan, a review of the legal basis for third country transfers stated in articles 46 and 49 GDPR, as well as benefits and drawbacks with applying the grounds set forth in articles 46 and 49 GDPR rather than applying an adequacy decision pursuant to article 45 GDPR. In conclusion, it may be noted that the adequacy decisions that have been discussed leave room for doubt in relation to the level of protection that is guaranteed in the GDPR. This gives reason for companies to consider application of article 46 and article 49 GDPR. There are several benefits and drawbacks with such considerations including the size of the company and its financial recourses affecting which appropriate safeguard in article 46 GDPR is the most suitable safeguard to use. Furthermore, the derogations in article 49 GDPR may, in theory and in practice, be very difficult to apply instead of article 45 and article 46 GDPR since the derogations focuses on specific situations and must be used restrictively. The findings in this thesis however leads to the conclusion that there are several reasons for companies to consider application of article 46 GDPR instead of article 45 GDPR.
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Mujica, Alejandro. "Escape Artist". Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5346.
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My thesis, Escape Artist, is a composite novel written as a fictitious memoir, similar in style to Tim O'Brien's The Things They Carried, that describes my experiences between the years 2001 and 2011. During that time I went through Marine Corps Boot Camp, became a military police officer, patrolled Yuma, AZ, was sent to Iraq for a seven-month tour as a security detail just before the start of Operation Iraqi Freedom, and made it back home four years later. The novel also looks into my struggles with Post-Traumatic Stress Disorder symptoms, how they affected the people around me, and what I've been trying to do to remedy them (or ignore them).M.F.A.
Masters
English
Arts and Humanities
Creative Writing
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Gustina, Charles F. "Escape Artist". VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1494.
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This thesis reviews the background, influences, and evolution of the body of work entitled Folia, which forms the basis for the candidate's thesis exhibition. It traces the development of the candidate's artistic inclinations from drawing to photography. Directorial and Pictorialist photography are discussed as forebears in the Influences chapter. Evolution of the Body of Work details how the current work grew from both the candidate's background and influences. A Brief Anthology of Quotations references Susan Sontag's influential work, On Photography, with quotations that have either influenced the candidate's work or reflect his perceptions of art and life. The balance of the thesis describes the candidate's working process in creating the work, and the installation at VCU's Anderson Gallery.
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Lamb, Justin. "Escape Artist". ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2621.
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This poetry manuscript explores themes of family and addiction, education and New Orleans, and fear and escape in the span of three parts. Its preface examines the poet’s background and influences, his relationship with performance and humor, and the levity he hopes to create in his work.
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Ladbon, Halima. "Artist Statement". CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/916.
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Lindquist, Tua. "Köpenhamnsdilemmat : En debattanalys av EU:s normativa konflikt". Thesis, Uppsala universitet, Statsvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-306120.
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Europeiska Unionens arbete är mångsidigt, och innefattar även normativa delar. Principer om demokrati, rättssäkerhet och mänskliga rättigheter finns exempelvis fördragsstadgade i Artikel 2 i Lissabonfördraget. Trots EU:s normativa värderingar har vi de senaste åren sett hur situationer utvecklats i ett flertal medlemsländer där dessa värderingar på olika sätt kränkts, exempelvis i Ungern, Rumänien och Polen. Utvecklingen kan få stora konsekvenser dels inom unionen men också för EU:s legitimitet som en normativ internationell aktör. Det är oklart hur dessa situationer kan hanteras av EU, och problemet som uppkommit har kommit att kallas Köpenhamnsdilemmat. Syftet med denna uppsats är att belysa den debatt som pågår kring Köpenhamnsdilemmat, genom att urskilja, beskriva och analysera debattens huvudståndpunkter och de argument som först fram. Uppsatsen urskiljer 4 huvudståndpunkter i debatten: EU bör ej ingripa, EU bör ingripa genom juridiska institutioner, EU bör ingripa genom politiska institutioner, och EU bör ingripa genom oberoende institutioner. Ståndpunkterna och deras argument utkristalliseras och beskrivs genom en beskrivande idéanalys samt undersökts närmare i en jämförande analys. Undersökningen har funnit att de tre ståndpunkter som anser att EU bör ingripa har en liknande problembeskrivning. EU anses först och främst ha en normativ sida, där principer om rättsäkerhet, demokrati och mänskliga rättigheter bör upprätthållas i samtliga medlemsländer. Aktörerna pekar dessutom ut en bristande efterlevnad av dessa principer, vilket anses vara ett problem för både EU och unionens medlemsländer. EU bör således ingripa när medlemsländer bryter mot principerna, men saknar idag effektiva mekanismer för att göra så. Aktörerna föreslår därför en rad olika lösningar, som utgör grunden för indelningen av de tre ståndpunkterna. Bland de aktörer som anser att EU inte bör ingripa återfanns ett flertal argument: att EU inte har mandat att intervenera, att ingripanden kränker medlemsländernas suveränitet, och att EU har hanterat processerna felaktigt då deras kritik är politiskt motiverad, debatten elitistisk eller anklagelserna orättvisa och felaktiga. Dessa aktörers lösningsförslag blir följaktligen att EU inte bör ingripa, antingen gällande samtliga eller enbart specifika situationer, när medlemsländer anses bryta mot principerna om rättsäkerhet, demokrati och mänskliga rättigheter. Den jämförande analysen fann att aktörernas lösningsförslag väl följer deras problembeskrivning. En bild av problemet som övergripande följs exempelvis av ett lösningsförslag bestående av en bred mekanism, medan en mer specifik bild av problemet återföljs av en snävare fokuserad mekanism. Analysen fann även att debattens aktörer vanligtvis har en antingen pragmatisk eller idealistisk utgångspunkt, och att deras problembeskrivning, argumentation och därmed även lösningsförslag påverkas av denna utgångspunkt.
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Pinckaers, Johannes Elisabeth Hubertus Maria. "Artikel 101a RO". [Deventer] : Maastricht : Gouda Quint ; University Library, Maastricht University [Host], 1997. http://arno.unimaas.nl/show.cgi?fid=5782.
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Taft, William W. Jr. "The Special Artist". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_theses/120.
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Earner, Meaghan. "Allston Artist Village". View thesis online, 2009. http://docs.rwu.edu/archthese/13/.
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Lange, Shara K. "Guest Artist Talk". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/3652.
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Handa, Haruhisa. "The living artist". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/738.
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"The Living Artist" describes Haruhisa Handa's diverse activities in the arts as analyzed by himself. He investigates why he ventured out to learn both western and eastern styles of art, and researches what it is that truly motivates him to take on such challenging activities. In this thesis, Handa begins with recollections and an evaluation of his own life. At present he is Involved In art from a wide variety of periods and cultures Including calligraphy, painting, tea ceremony, and Noh drama from Japanese culture, oil painting, composition, classical music and ballet from western culture as well as classical Chinese opera. Throughout he questions what It is that drives him into each of these areas, and returns to his elementary and junior high school days to probe for an answer. As he discusses his own history from his childhood to the present, he also analyses his own trail as a man of religion, which underpins all of his artistic ventures. After reflecting on the past, he moves through to the present, and evaluates the Influence of the Shinto religion on his artistic activities. He seeks to justify the reasons for the diverse path he has followed as both a businessman and as an artist through his understanding of Shintoism, a religion that is deeply rooted In the foundation of Japanese culture. He continues his narrative from various points of view, and reveals the methodology through which he engages in his artistic activities as well as In his primary role as a successful businessman. In particular, he evaluates his activities as a businessman and draws comparisons to his business peers and their involvement In the arts. Throughout the study Haruhisa Handa's arts practice is evidenced in his supplementary package of videos, COs and monographs that are appended to this work. Not all of Handa's activities in the arts are traditional performances or paintings; many of his projects creatively integrate religion and business. Indeed, all aspects of his life are tied together by one common factor. In this study he identifies what It is that motivates his wide-ranging artistic ventures, and in so doing reveals a unique approach to arts participation and patronage.
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Basch, Anne Sophie. "L'artère poplitée piégée : orientation diagnostique et thérapeutique". Montpellier 1, 1997. http://www.theses.fr/1997MON11153.
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Hossenbux, Mohammud Hassen. "Les anévrysmes de l'artère splénique : à propos d'un cas". Bordeaux 2, 1989. http://www.theses.fr/1989BOR25244.
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FONIQI, ISLAM. "Results on Artin and twisted Artin groups ". Doctoral thesis, Università degli Studi di Milano-Bicocca, 2022. http://hdl.handle.net/10281/374264.
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Questa tesi consiste in tre capitoli principali, e tutti si evolvono intorno ai gruppi di Artin. Dimostrare risultati per tutti i gruppi di Artin è una sfida seria, quindi di solito ci si concentra su particolari sottoclassi. Tra le sottofamiglie più conosciute dei gruppi di Artin c'è la famiglia dei gruppi Artin ad angolo retto (RAAGs in breve). Si possono definire usando i grafici simpliciali, che determinano il gruppo fino all'isomorfismo. Sono anche interessanti perché ci sono una varietà di metodi per studiarli, provenienti da diversi punti di vista, come la geometria, l'algebra e la combinatoria. Questo ha portato alla comprensione di molti problemi dei RAAG, come il problema delle parole, la crescita sferica, le intersezioni di sottogruppi parabolici, ecc.
Nel Capitolo 2 ci concentriamo sulla crescita geodetica dei RAAG, su grafi link-regolari, ed estendiamo un risultato in quella direzione, fornendo una formula della crescita su grafi link-regolari senza tetraedri.
Nel capitolo 3 lavoriamo con gruppi leggermente diversi, la classe dei gruppi Artin contorti ad angolo retto (tRAAGs in breve). Sono definiti usando grafi misti, che sono grafi semplici in cui i bordi possono essere diretti. Troviamo una forma normale per presentare gli elementi in un tRAAG. Se dimentichiamo le direzioni dei bordi, otteniamo un grafo non diretto sottostante, che chiamiamo grafo ingenuo. Sul grafo ingenuo, che è semplice, si può definire un RAAG, che corrisponde naturalmente al nostro tRAAG. Discuteremo alcune somiglianze e differenze algebriche e geometriche tra i tRAAG e i RAAG. Usando la forma normale siamo in grado di concludere che la crescita sferica e geodetica di un tRAAG concorda con la rispettiva crescita del RAAG sottostante.
Il capitolo 4 ha un tema diverso, e consiste nello studio dei sottogruppi parabolici nei gruppi pari di Artin. Il lavoro è motivato dai risultati corrispondenti nei RAAG, e generalizziamo alcuni di questi risultati a certe sottoclassi di gruppi pari di Artin. This thesis consists of three main chapters, and they all evolve around Artin groups. Proving results for all Artin groups is a serious challenge, so one usually focuses on particular subclasses. Among the most well-understood subfamilies of Artin groups is the family of right-angled Artin groups (RAAGs shortly). One can define them using simplicial graphs, which determine the group up to isomorphism. They are also interesting as there are a variety of methods for studying them, coming from different viewpoints, such as geometry, algebra, and combinatorics. This has resulted in the understanding of many problems in RAAGs, like the word problem, the spherical growth, intersections of parabolic subgroups, etc. In Chapter 2 we focus on the geodesic growth of RAAGs, over link-regular graphs, and we extend a result in that direction, by providing a formula of the growth over link-regular graphs without tetrahedrons. In Chapter 3 we work with slightly different groups, the class of twisted right-angled Artin groups (tRAAGs shortly). They are defined using mixed graphs, which are simplicial graphs where edges are allowed to be directed edges. We find a normal form for presenting the elements in a tRAAG. If we forget about the directions of edges, we obtain an underlying undirected graph, which we call the naïve graph. Over the naïve graph, which is simplicial, one can define a RAAG, which corresponds naturally to our tRAAG. We will discuss some algebraic and geometric similarities and differences between tRAAGs and RAAGs. Using the normal form we are able to conclude that the spherical and geodesic growth of a tRAAG agrees with the respective growth of the underlying RAAG. Chapter 4 has a different theme, and it consists of the study of parabolic subgroups in even Artin groups. The work is motivated by the corresponding results in RAAGs, and we generalize some of these results to certain subclasses of even Artin groups.
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Withers, Marie. "How Does the Artist Teacher Successfully Negotiate Being Both Artist and Teacher?" BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/7387.
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Around water coolers, faculty rooms, and classroom corners, art teachers discuss their concerns about maintaining a balance between making, teaching, and studying art. Research indicates there are advantages and disadvantages to commingling these activities, and about how these activities inform each other. The purpose of this study is to not only research what has been written, but also discover through interviews, using a narrative inquiry/case study approach, what living, breathing artist teachers are doing to that allows them to take advantage of the symbiotic nature of making, teaching, and studying art.
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Johansson-Evegård, Erik. "Artist Friendly Fracture Modelling". Thesis, Linköpings universitet, Institutionen för teknik och naturvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-74477.
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Destruction is one of the key aspects of visual effects. This report describes the work that was done to create a production ready pre-fracture modelling plug-in for Maya. It provides information on what methods that can be used to create a robust plug-in and various techniques for sampling points to create interesting fracture patterns using the Voronoi diagram. It also discusses how this work can be further built on to create an even better plug-in.
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Thornton, Alan. "Educating the artist teacher". Thesis, Anglia Ruskin University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401318.
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Lass, Barbara Frances. "Hans Richter : film artist /". Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778974.
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Edberg, Robin y Magnus Qvint. "Article Placement in Storage". Thesis, Linköpings universitet, Kommunikations- och transportsystem, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-91311.
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Beijer Byggmaterial är ett företag med förbättringspotential angående lagerhantering. Eftersom lager och service är centralt i företagets syfte kan lönsamhet uppnås vid effektiviserad lagerhantering. Syftet med rapporten har varit att minska tiden för plockning av artiklar ur ett kundperspektiv på Beijer Byggmaterials lager i Halmstad. Utifrån detta har ett antal frågeställningar diskuterats fram som i denna rapport ska svara på ifall det är lönsamt för företaget att frekvenslägga sina artiklar. Arbetsgången har skett genom tre olika steg, där den första fasen behandlade insamling av data. Detta följdes upp av diverse beräkningar och analyser angående artikelplacering i lager. Sista fasen behandlade det lösningsförslag som författarna arbetat fram. I dagsläget är artiklarna på Beijer placerade i artikelgrupper utan frekvensläggning. I det lösningsförslag som arbetets fram i denna rapport visar det sig lönsamt för företaget att placera ut artiklarna baserat på dess frekvens. Detta har genomförts genom ett antal olika ABC-analyser med ett antal kriterier där de artiklar med högst plockfrekvens klassificeras som A-artiklar och har därför placerats på en lämplig plats. Genom stöd från teorier har frekvensläggning och artikelplacering resulterat i kortare plocktider för både kunder och personal samt en högre kundservice genom hela lagret.Beijer Byggmaterial is a company with potential for improvement regarding inventory management. Since stockks and customer service are central to the company’s purpose, profitability can be achieved in more efficient inventory management. The purpose of the report has been to reduce the time for picking items from a customer perspective in one of Beijer Byggmaterial’s warehouses. On this basis, a number of issues discussed were that this report will answer if it’s profitable for the company to overlook an article placement of its products. The procedure was done through three different stages, the first phase dealt with the collection of data. This was followed by various calculations and analyzes regarding article placement of stock. The last phase is considered the solution proposed by the authors. In the current situation, articles at Beijer are placed in different groups without being based on frequency. The proposed solutions in this report show that it’s profitable for the company to place articles based on frequency. This has been implemented by a number of ABCanalyzes with a number of criteria which the articles with the highest frequency being classified as A-items and are therefore placed in a suitable location. Through the support of theories frequency orientation and article placement have resulted in shorter retrieval times for both customers and staff, and a higher customer service thought the warehouse.
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Simcox, Roderick. "Interpretation and the artist". Thesis, Birkbeck (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342735.
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Interpretation which is sensitive to the creative past can be given a justifying foundation by extensive description of ways in which we employ perceptions of the artist's significance. Such a justification, based only on description, can be measured for success against an ideal where justification and explanation would issue from a strong, independent artist-artwork tie. The ideal is approached, but is itself impossible: connections between interpretation and the creative past are heterogeneous and the sensitivity of interpretation to variations in creative history fails to show that interpretation follows any general principle. Interpretation creates a past that is part fictional in several ways for expressive purposes, and a part fictional artist again undermines a general, strict connection between true meaning and the real past. When interpreters hold theoretical beliefs to the contrary, interpretation suffers distortion. Neither can a strong tie be uncovered through ontological proposals. Apparent strong ties turn out to be justified stipulations for practical, imaginative, interpretative use of the creative past. Justified interpretation must support principal organising ideas. Otherwise, however, interpreters exploit the creative past; they are not held in its grip. As dermed, the ideal justification would: (1) press the justified practice upon interpreters, and (2) ensure that meaning is objective. A foundation based on description dilutes but approaches this ideal. Taking each of the two features in turn: First, rather than mandate the practice, connections between the practice and its environment create, as a minimum, a defensible case against arbitrariness. This "environment" includes an address made to artworks which is akin to an address to mind. Non-arbitrariness is reinforced when any ideological attack on the artist must fail in principle to promise ideologically acceptable alternatives. Second, a descriptive justification rejects oruy objectivity of the wrong kind. This leads to a particular view of alleged constraints on interpretative practice
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Bryant, Benjamin R. "The artist as shaman". Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1327289.
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Albert Einstein is one indisputable luminary who in my opinion exemplifies the balance, brilliance, and altruism I look for in my heroes. Subsequent to his dream of riding a beam of light to the edge of the universe, with the tools of calculus and physics, he radically changed our understanding of the universe. But the dream came first, and everybody dreams.I believe everyone has something incredible to offer. In my creative project paintings I attempt to demonstrate with the tools of paint and canvas my peculiar dream of the cosmos from macrocosm to microcosm.I ride the beam of light using paint and canvas, in my creative project paintings I celebrate my fascination with that intuitive element we all share. I also celebrate those who have gone before with the wisdom to seek an understanding and discernment of the genius we all share, have access to, and indeed must thoughtfully and carefully awaken for our species to evolve past its current halting material, ideological, and technological adolescence.Department of Art
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Bennett, Garry. "An artist teacher's portrayal". Thesis, University of East Anglia, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359888.
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Chaffin, Jason Edward. "The Embedded American Artist". ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1162.
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As our world ramps up the speed of its connections, our identities merge with increasing speed and angles of confluence. Not only are new identities created, but also the more fringe social and cultural elements of our world are exposed to mainstream consciousness. My work is a product of my own fringe background (namely its sheer breadth of experiences not normally visited upon a single person's life). My aim is to add variables to our social and cultural speed of combination and new variety by creating work that is derived from my own experiences to speak to those who are of the newer combinations and newer social recognition. I am motivated to create this work both to perpetually define and redefine myself, and also to give ground to an ‘identity of no identity' on a global scale, to our artistic dialogue and catalog.
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Waldmeier, Martin. "The artist as translator". Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/19819/.
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This thesis project explores an artist figure that has risen to prominence in the context of the art world’s growing global interconnectedness: the figure of the (cultural) translator who shifts between multiple cultural and linguistic zones, speaking between them. In order to approach this figure I map out the international art world and its institutions as places marked by linguistic operations and acts of cross-cultural address, arguing that the translatability of an artist’s work is key to its circulation within an expanding international circuit. I argue that the translator figure can be viewed as a response to the demands posed by institutional politics of diversity, neoliberal economics of cultural circulation, as well as the changing roles of art as a global medium — with artists becoming cross-cultural public intellectuals and commentators. In dialogue with selected artistic practices and their specific contexts (Nicoline van Harskamp, Guillermo Gómez-Peña, Walid Raad, Rabih Mroué, Dilek Winchester and others) and drawing from translation studies (especially Naoki Sakai’s notion of translation not as a binary activity but as a relational practice and form of address), I explore the various intellectual, artistic, and critical potentialities immanent to the role of the translator, and argue for translation to be developed as a form of critical cross-cultural authorship in the field of international contemporary art.
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Panton, Pat. "The artist as agent". Thesis, University of Bristol, 1985. http://hdl.handle.net/1983/950bd0f8-083e-48a9-a7f6-f44ee8a02d1b.
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Michaud, Anne Marie. "Autoethnographie d'une artiste pédagogue". Doctoral thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/40336.
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Cette thèse est le résultat d’une recherche-création en arts visuels analysée à travers une méthode autoethnographique afin d’établir quels savoirs provenant de la réalisation d’une création artistique sont transférables à l’enseignement des arts. En étudiant ma propre recherche-création, je mets en relief le dialogue de la création (Buber, 1923/2012) ainsi que la posture d’amateur public (Pentecost,2007). Je démontre comment le processus de création et la pratique réflexive d’une artiste-pédagogue peuvent alimenter sa posture d’accompagnement pédagogique. En utilisant une méthode autoethnographique (Chang, 2008; Ellis,2004, 2009; Ellis & Bochner, 2011; Reed-Danahay,1997), j’explore les liens unissant la pratique artistique et l’enseignement des arts visuels s’approchant d’une épistémologie constructiviste radicale (Glasersfeld,1981/1988, 1988) où le bricolage est mis à l’avant-plan (Denzin & Lincoln, 2011).Cette recherche se réalise sur deux fronts : d’abord par la réalisation d’un projet de création artistique, puis par l’observation et l’analyse de ce projet (processus et résultats) selon une perspective autoethnographique. Le projet de création, Bluetooth, est composé de pièces de céramique et d’estampes numériques inspirées d'une quête où se croise mon histoire personnelle à des faits historiques. II en découle une hagiographie fantasmée et improbable dans laquelle des dents bleues ainsi que le viking Harald Bluetooth et le Frère Marie-Victorin se retrouvent à l’avant-plan, au carrefour du dialogue de la création et du concept d’amateur public. La thèse est rédigée à la manière d’un récit autobiographique, un récit de pratique de création (Paquin, 2014) écrit à la première personne, à partir duquel j’extrais des connaissances nouvelles. La mise en relief de ces connaissances vise dans un premier temps à faire ressortir le dialogue bubérien présent dans l’expérience de création et à présenter une modélisation de mon processus de création. Dans un deuxième temps, je dégage des principes tirés de cette expérience de création personnelle et j’établis comment ils se transposent dans l’accompagnement pédagogique que je réalise auprès d’étudiants universitaires en enseignement des arts. Mots clés : accompagnement, amateur public, dialogue, pratique réflexive, processus de créationThis thesis is the culmination of a research-creation in visual arts that employs an autoethnographic method of examination and analysis. My goal with this project isto determine which knowledge derived from artistic creation is transferable to arts education. By studying my own research-creation, I emphasize the dialogue of creation (Buber, 1923/2012) and how the position of the public amateur(Pentecost, 2007) can be embodied in the creative process. I demonstrate how the creative process and the reflexive practice (Schön, 1982) of an artist-teacher cannourrish the artist-teacher’s engagement with guided pedagogy (accompagnement pédagogique). Using an auto-ethnographic method (Chang, 2008; Ellis, 2004,2009; Ellis & Bochner, 2011; Reed-Danahay, 1997), I explore how the links between artistic practice and visual arts education approach radical constructive epistemology (Glasersfeld, 1981/1988, 1988) where bricolage construction is foregrounded.This research is carried out in two ways. First, by the realization of an artistic project, and second, by observing and analyzing the process and results of the project from an autoethnographic perspective.The creative project, Bluetooth, is composed of ceramic pieces and digital prints inspired by an investigation to see where my personal history crosses with historical facts. The end result is a fantasized and unlikely hagiography in which blue teeth, as well as the Viking Harald Bluetooth and Brother Marie-Victorin find themselves front and center, intersecting with the dialogue of creation and the concept of public amateur.The thesis is written as art practice narrative (Paquin, 2014), an autobiographical account written in first person from which I am able to draw out new knowledge.The first objective in high lighting this knowledge is to bring out the Buberian dialogue present in the experience of creation and to provide a model of my creative process. The second objective is to draw out principles from this experience of personal creation and to establish how they are transferred into the guided pedagogy that I engage in as an arts educator with my university students. Key words: guided pedagogy, public amateur, dialogue, reflexive practice, creative process
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Fortkamp, Aaron M. "The Little Death Artist". Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1318025921.
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Walsh, Bradley Michael. "Humbert Lucarelli: Oboe Artist". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306807891.
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Orellana, Fernando. "On Becoming an Artist". The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1419352244.
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Toumazis, Yiannis. "Marcel Duchamp, artiste androgyne". Amiens, 2009. http://www.theses.fr/2009AMIE0003.
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Cette thèse porte sur la relation étroite de l’œuvre de Marcel Duchamp avec la notion de l’Androgyne, la coexistence des principes mâle et femelle, hérités des mythes anciens de la création; elle porte également sur les idées platoniciennes, les pensées gnostique et hermétique, et les croyances alchimiques telles qu’elles se trouvent exprimées dans le corpus de l’œuvre de Duchamp. La première partie, présente le rôle et la signification de l’Androgyne dans les mythes anciens de la création, chez les philosophes grecs, dans la gnose, la philosophie hermétique des alchimistes et la cabale. La deuxième partie, traite l’œuvre de Marcel Duchamp d’un point de vue « androgyne ». En particulier, nous analysons de façon détaillée les deux grandes œuvres de Duchamp, La Mariée mise a nu par ses célibataires même et Etant donnés: 1º la chute d’eau, 2º le gaz d’éclairage, en nous attachant à l’étude de leurs caractéristiques androgynes telles qu’elles ont été définies dans la première partieThe present thesis illustrates the close relation of Marcel Duchamp’s work to Androgyny; the harmonious coexistence of the male and female principles, as we inherited them from the ancient myths of creation, the Platonic ideas, the Gnostic and Hermetic thoughts, the Alchemical beliefs and the way they are expressed in the corpus of Duchamp’s work. Part I, “L’ Androgyne”, presents the use and meaning of Androgyny in Ancient Myths of Creation, Classical Antiquity, Ancient Greek Philosophy and specifically Plato’s Symposium, Gnosticism, the Hermetic Philosophy of the Alchemists and Kabala. Part II, “Marcel Duchamp - L’ Artiste Androgyne” examines the work of Marcel Duchamp seen from an androgynous perspective in order to offer a different insight to his work. In particular it examines and extensively analyzes the two major works of Duchamp: Le Grand Verre and Étant Donnés and focuses on the androgynous characteristics of the works as they have been set in Part I
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White, Sullivan Canaday. "Training the Theatre Artist". VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/8.
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While most undergraduate theatre programs value the concept that their students should be acquainted with all areas of theatre, (acting, directing, design, playwrighting), they implement it by asking students to take classes in each area of specialization, which can reinforce the natural division between the fields. This thesis aims to create four courses that would be a part of a larger undergraduate curriculum that focus upon training the theatre student in a holistic manner through developing knowledge and skill in all fields of the theatre simultaneously and within a single class. Significantly, this process begins with a course in collaboration that consciously draws attention to the components and abilities necessary for fruitful ensemble work. Students participate in non-hierarchical methods for creating theatre and then apply these same concepts to the elements (actor, text, light, sound, etc.) that contribute to creating theatrical moments. This type of training encourages students to view themselves not just as an actor or director or designer or playwright, but as theatre artists who have a sense of ownership of the knowledge of how these various fields work together within him or herself, but also within the theatre as a whole. My experience has been that after such courses students have an even greater sense of respect for what it means to make theatre with a group of people, and as theatre is never done in isolation, this is a step toward more empowered theatre artists.
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Jakobsson, Pontus. "Proceduralism, the Automated Artist". Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74628.
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Franz, Francesca <1993>. "Article 9 and UN". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14531.
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The purpose of this thesis is to contextualize and explain the relation that exists between Article 9 and the United Nations and to find the main similarities between the them.
In order to do so, I provide an overview on the main historical events that brought to the writing of the Constitution of Japan, and that inspired the pacifist article. While doing this I also stress out the main points in common between Article 9 of the constitution and the United Nations’ Charter. I then discuss the main opinions on the emergence and on the source of the pacifist clause that can be divided into two main thesis, one that sees Article 9 as imposed on Japan and the other that claims it as indigenous. For a better understanding of this part, I also present two figures that had an important part in the drafting of the new Constitution, the Japan’s Prime Minister at the time Shidehara Kijurō and the head of the forces of occupation General MacArthur. I also discuss the role America had in the drafting of Article 9 as well as in some related events and in the institution of the Japanese Self-Defence Forces. In this context, I also deal with how the birth of this forces and their changes in intervention policy affected Japan’s relations with UN, especially with their participation in Peacekeeping Operations. The whole discourse will provide the basis for discussing the interconnection that seems to exist between Article 9 of the Constitution of Japan and United Nations.
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Bína, Vojtěch. "Hotel Artia". Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2016. http://www.nusl.cz/ntk/nusl-239948.
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The final thesis „Hotel Artia” is processed in the form design documentation for building construction. The building of hotel is located on plot no. 443/1 in Červená Řečice. The building has four-storey part of hotel and single-storey part of restaurant. Structural system is RC frame. The building has warm flat roof and contact thermal insulation.
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Nabavi, Seyed Mohammad Nasser. "L'artiste aux prises avec la société et l'histoire dans l'œuvre de Pierre Michon". Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC025/document.
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Cette thèse porte sur le thème de l’artiste dans l’œuvre de Pierre Michon. L’artiste comme pratiquant d’une carrière liée à la création (picturale, poétique, musicale, etc.) est une figure compliquée, car il habite à la lisière d’un monde intérieur propre à lui seul et de l’univers socio-historique qui l’entoure et qui oriente ses essais. Ayant beaucoup écrit sur les peintres et les écrivains Michon est l’un des auteurs contemporains qui ont largement traité le processus labyrinthique du devenir-artiste. D’ailleurs, la question de l’artiste chez cet auteur ne peut être abordée qu’en compagnie des aspects socio-historiques de son œuvre. Ainsi, notre objectif durant ce travail consiste à analyser la formation de l’artiste, de même que le rôle crucial que jouent les instances socio-historiques dans le devenir-artiste, à partir de l’œuvre de Michon, afin de formuler le point de vue de cet auteur en ce qui concerne les diverses dimensions de la création artistiqueThis thesis focuses on the theme of the artist in the works of Pierre Michon. The artist as a practitioner of a career linked to creation (pictorial, poetic, musical, etc.) is a complicated figure, because he lives on the edge of an inner world proper to himself and of the socio-historical world that surrounds it and that guides its trials. Having written extensively about painters and writers, Michon is one of the contemporary writers who has widely dealt with the labyrinthine process of becoming-artist. Moreover, the question of the artist in this author can only be approached in the company of the socio-historical aspects of his works. Thus, the objective of this work is to analyze the formation of the artist, as well as the crucial role played by the socio-historical bodies in the becoming-artist, in the works of Michon, in order to formulate the point of view of this author with regard to the various dimensions of artistic creation
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Östberg, Linnea y Louise Uvgård. "Kollektiv dominans : Flera företag enligt artikel 102 FEUF och gränsdragningen gentemot artikel 101 FEUF". Thesis, Linköpings universitet, Affärsrätt, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-131554.
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Syftet med denna uppsats är att utreda hur artikel 101 och 102 FEUF förhåller sig till varandra i den beskrivna situationen och därigenom möjliggöra förståelse för hur reglerna skall tolkas. Uppsatsen är främstämnad att riktas till verksamma bolagsjuristermen även till juriststudenter.
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Lund, Kimberley Ann 1955. "Transition from artist to artist teacher: A case study of graduate student studio teaching". Thesis, The University of Arizona, 1993. http://hdl.handle.net/10150/292007.
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This work is a qualitative inquiry, using naturalistic, descriptive methods of educational anthropology to form a case study of the teaching and learning environment in a particular graduate teaching assistant's (GTA) University Foundations drawing classroom. Data reveal relationships, patterns and forms in the GTA's teaching behaviors, classroom phenomena and the student's learning behaviors. Inferences are drawn from the descriptive data and hypotheses are formulated that concerns itself with how the particular graduate student teaches studio art and why. By recording a GTA's personal pedagogical evolution and investigating the assumptions and values that underlie the process, the researcher has discovered general characteristics of university visual arts teaching for structuring knowledge in that area. Conclusions are education in the arts is personality driven, good teaching is a sustained and willful act and curriculum must be sequentially ordered for optimum student learning.
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Checler, Eric. "Anévrismes athéroscléreux de l'artère poplitée : étude rétrospective de 149 anévrismes poplités opérés entre 1980 et 1991". Bordeaux 2, 1992. http://www.theses.fr/1992BOR23050.
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Renaudie, Thierry. "Dissections artérielles des branches collatérales et terminales du système vertébro-basilaire". Bordeaux 2, 1995. http://www.theses.fr/1995BOR2M001.
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Scherbakow, Swetlana [Verfasser] y Willi [Akademischer Betreuer] Bannwarth. "Modulierung von Olefinmetathese-Reaktionen durch neue chelatisierende Hoveyda-Grubbs-artige Katalysatoren". Freiburg : Universität, 2014. http://d-nb.info/1119805341/34.
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Martin, Rebecca Lynn Londré Felicia Hardison. "Robin Humphrey, the teaching artist". Diss., UMK access, 2005.
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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2005."A thesis in theatre." Typescript. Advisor: Felicia H. Londré. Vita. Title from "catalog record" of the print edition Description based on contents viewed June 26, 2006. Includes bibliographical references (leaves 82-93). Online version of the print edition.
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KOJIMA, Hideo. "Introduction to Alan Fogel's Article". 名古屋大学教育学部, 1985. http://hdl.handle.net/2237/3690.
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Johnson, Oliver. "Aleksandr Laktionov: A Soviet Artist". Thesis, University of Sheffield, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490187.
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What did it mean to be a successful Soviet artist? Was Socialist Realism, the official art of the Soviet Union, simply the dictated ideological product of a totalitarian cultural policy, or were its producers progressive artists, harnessed to a great national tradition and liberated from the constraints of a market-driven art establishment? These are the two Cold War poles of contention that simplify the reality of a diverse and complex art establishment. Through an analysis of Aleksandr Laktionov, a popular and contentious Soviet artist who rose to prominence in the late 1940s, it is possible to trace the main arguments and controversies that helped to shape the Soviet art world in the post-war years. This project employs archival material such as visitors' books from major exhibitions, stenographic reports of meetings, documents pertaining to the organisation of exhibitions and letters and personal documents in order to reconstruct and examine significant moments in the career of a major Soviet artist, including detailed analyses of several individual works of art. This unique case study of Laktionov's work and its popular and critical reception reveals an art establishment that was structured in the late 1940s according to privileged lines of patronage and association, and in the 1950s became the battleground of a struggle for taste. The Soviet public defied attempts to mould and direct their tastes by responding to works of art as diverse and impassioned consumers, and the Soviet artist played an active role in contributing to an evolving definition of Socialist Realism.
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Wheeler, Lori Jean. "The Development of an Artist". The University of Montana, 2010. http://etd.lib.umt.edu/theses/available/etd-05242010-174014/.
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The goal of my final creative project was to receive instruction in the area of the visual arts, create a body of work that would be displayed in an art gallery or other appropriate setting, and emerge publicly as an artist. This goal was important to me for two reasons. The first reason was that for many years I had suppressed my own need to create and express myself through art for various reasons: lack of instruction and fear of stepping out of the box and expressing myself creatively. My final creative project has led to an awakening of my ability to express myself through my artwork and make personal connections with my paintings. Focusing on the basic elements of art in my instruction and integrating this new knowledge into each of my paintings has produced a great deal of personal growth as an artist. The second reason this goal was important to me was that integrating the fine arts into the curriculum of the public schools has always been a priority. Teaching visual arts to the students in my regular education classroom was something I have strived for, yet I felt I lacked the skills needed to teach it well. This project resulted in the realization that I was an artist who could produce works of art pleasing to others and myself as well. In addition to addressing my lack of personal art and development as an artist, I also resolved the problem of having the skills and knowledge to bring quality art instruction into the classroom. While this creative project has been focused primarily on my own artistic development, my students will reap the benefits of my growth for years to come.
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Brilhart, Daniel Lee. "The artist as shalom builder". Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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Thiel, Alexander [Verfasser]. "Artikel und Abstrakta / Alexander Thiel". Wuppertal : Universitätsbibliothek Wuppertal, 2017. http://d-nb.info/1131275969/34.
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Too, Wing-tak Ken y 杜永德. "Artist colony at Green Island". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983650.
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Hoekstra, Marike. "Artist teachers and democratic pedagogy". Thesis, University of Chester, 2018. http://hdl.handle.net/10034/621472.
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Combining artistic practice with teaching is not unusual for teachers in the visual arts. A dual professional practice, which can be found throughout the field of art education with art teachers in all levels of education, requires a negotiation of roles and positions on a personal level and has impact on pedagogy. However, the binary opposition of artist versus teacher fails to comprise the diversity of practices where art making and teaching are combined. Not only does identification with artist or teacher vary, so does the extent to which the two disciplines are fused, to the point where it can be called a hybrid practice when the distinction between art and teaching is no longer relevant. The democratic nature of contemporary visual art making further problematises a singular model of artist teacher practice. In order to do justice to the personal strategies artist teachers employ in balancing their dual professional roles, this thesis proposes a multifaceted concept of artist teacher practice. In this thesis, the notion of hybridity and diversity in artist teacher practice and the implications for democratic models of teaching and learning is subject to both theoretical, empirical, and artistic inquiry. The employment of different lenses enables a multi-layered approach to a complex practice. By focusing on the knowledge incorporated in the practice of two Dutch artist teachers this thesis informs how artist teacher practice relates to models of democratic teaching and learning. The miniature dioramas visually explore my own perception of democratic learning spaces and add an extra auto-ethnographic layer of understanding to artist teacher pedagogy. Central in this thesis is the notion of a pedagogical thirdspace. A spatial representation of social realities helps to create a critical understanding of human life. A thirdspace is a place in the margins between reality and ideals (Soja, 1999). When binary models of understanding are exchanged for real-life knowledge of the pedagogical practice of artist teachers an ambiguous open space emerges, where there is room for experiential learning, uncertainty, risk-taking, care, equality, inclusion, tacit experience, sensitivity, play, flexibility, and conflict. The engaged pedagogy (hooks, 1994) of artist teachers emancipates learners because of the fact that the duality of the artist teacher invites learners to join in a democratic, living model of artistic practice.