Tesis sobre el tema "Feminist art history"
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Horne, Victoria. "History of feminist art history : remaking a discipline and its institutions". Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/16194.
Texto completoKidder, 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.
Texto completoCouser, Kristie. "Exhibiting Berthe Morisot after the Advent of Feminist Art History". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/484.
Texto completoBarriga, Maria Fernanda. "Deconstructing Feminist Art and The Evolution of New Media". Thesis, Prescott College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10255533.
Texto completoFeminist artists during the second wave movement wanted to gain the same rights as men in a historically male-dominated art world, a world that was being influenced more and more by modernist ideals. It was during this precise moment that postmodernists helped transform art, in addition to the fields of literature, music, architecture, law, and philosophy. The synthesis between postmodernism and feminism helped art evolve in non-traditional ways. In this thesis, I seek to answer the question: “How did postmodernism influence feminist artists from 1970-1982 to create the adaptation of new media?” Evidence of this influence is seen in the evolution of new media such as performance, decorative arts, video, photography, femmage, and collage. As I examine the synthesis between postmodernism and feminist art, I will also show evidence of how second wave feminist movement influenced the evolution of postmodernism, and how the mixture of postmodern and feminist ideals influenced these women artists.
Winter, Regina Beth 1945. "An integrative model for a discipline based feminist history of art". Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276708.
Texto completoZdanovec, Aubree. "Seduction| A feminist reading of Berthe Morisot's paintings". Thesis, The University of Arizona, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10129125.
Texto completoBerthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her ac-complishments in a generalized history of the French Impressionist movement. I ana-lyzed nine of Morisot’s paintings and applied feminist theory, including third-wave feminism (post-1960’s). My research was angled to approach and understand Morisot’s artwork as a contemporary woman would at an exhibition.
Long, Catherine. "A feminist dialogue with the camera : strategies of visibility in video art practices". Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12060/.
Texto completoNiles, Krista Joy. "An Arranged Deconstruction: The Feminist Art Practice of Louise Lawler". Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/565894.
Texto completoZdanovec, Aubree y Aubree Zdanovec. "Seduction: A Feminist Reading of Berthe Morisot's Paintings". Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/620716.
Texto completoBatorowicz, Beata Agnieszka y n/a. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship". Griffith University. Queensland College of Art, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040319.090547.
Texto completoBatorowicz, Beata Agnieszka. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/367273.
Texto completoThesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Full Text
Tolley, Rebecca. "Alaskan Pipeline, Feminist Art, Hairstyles, Ms. Magazine, Sanitary Napkins with Adhesive Strips". Digital Commons @ East Tennessee State University, 2005. https://www.amzn.com/1587652293.
Texto completoWaite, Sally Ann. "Representing gender on Athenian painted pottery". Thesis, University of Newcastle Upon Tyne, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327231.
Texto completoFrizell, Hazel Elizabeth. "Representations of specific concerns of the women's liberation movement in British feminist art 1970-1978". Thesis, Kingston University, 2009. http://eprints.kingston.ac.uk/20225/.
Texto completoStroud, Elizabeth J. "Opening the Door to Meaning-Making in Secondary Art History Instruction". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5244/.
Texto completoSilver, Erin. "Sites unseen and scenes unsighted: histories of feminist and queer alternative art spaces, ca. 1970-2012". Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119481.
Texto completoOn peut retracer l'histoire de l'art féministe, de l'art queer ainsi que de l'art queer et féministe en Amérique du Nord à travers une histoire des institutions, des organisations et des structures qui ont contribué à garantir et légitimer les pratiques d'art queer et féministe. Ma thèse offre une analyse historiographique queer et féministe des espaces d'art alternatifs, féministes et queer clés dans trois villes nord-américaines, de manière à affirmer leur portée historique tout en délimitant les façons par lesquelles l'histoire actuelle des pratiques queer et féministes du passé soutient ou remet en question l'optique du discours dominant à travers laquelle cette histoire en est venue à être lue. En me concentrant sur le mouvement artistique féministe des années 1970 à Los Angeles, sur les communautés underground d'art queer formées à New York dans les années 1980 jusqu'à la première moitié des années 2000 et sur les communautés culturelles queer et féministes émergeantes aujourd'hui à Montréal, je démontre comment les conditions socio-politiques présentes dans chaque ville ont mené les institutions dans des trajectoires divergentes. En engageant chaque histoire dans un dialogue avec des initiatives et interventions féministes et queer contemporaines, je démontre comment le féminisme queer peut présentement participer tant à assurer l'importance historique de ces espaces qu'à aborder, de façon critique, les histoires d'exclusion comme étant une partie intégrante de leur pertinence continue.
BURI, MAUREEN E. "CRIMES OF PASSION: RAPE AND ABDUCTION IN FLEMISH MYTHOLOGICAL PAINTING, 1600-1650". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179770118.
Texto completoRosenblum, Lauren. "The Protesting Body: Suzanne Lacy, Leslie Labowitz-Starus, and Sharon Hayes". Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/196443.
Texto completoM.A.
Suzanne Lacy, Leslie Labowitz-Starus and Sharon Hayes have created public performances that respond to the socio-political conditions of their time and place, and extend the boundaries of the traditional public sphere to include feminist concerns. In their collaborative performance In Mourning and In Rage (1977), Lacy and Labowitz-Starus utilized the private, feminist practice of consciousness-raising to bring widespread visibility to the politics of the female body. Hayes' works In the Near Future (2007-09) and Everything Else Has Failed! Don't You Think It's Time for Love? (2007), draw attention to issues concerning counterpublics through obliquely referential personal and political narratives. These works all mobilize a performing, protesting body whose corporeality mediates the audience's political realizations, past memories and current subjecthood.
Temple University--Theses
Leffler, Laura Sutton. "Life in the Dollhouse: Laurie Simmons’s Early Work as a Display of Constructed Hierarchies". University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116938975.
Texto completoDortch, Jamie. "Kaethe Kollwitz women's art, working-class agitation, and maternal feminism in the Weimar Republic /". unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07282006-103433/.
Texto completoTitle from title screen. Joseph Perry, committee chair. Electronic text (90 p. : ill.) : digital PDF file. Description based on contents viewed May 1, 2007. Includes bibliographical references. Includes bibliographical references (p. 72-75).
Wolf, Erin Irene. "A Thesis is Not a Diary and Other Myths". Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1565810728861941.
Texto completoFaust, Kimberly M. "A Crisis in Regal Identity: The Dichotomy Between Levinia Teerlinc’s (1520-1576) Private and Public Images of Queen Elizabeth I (1533-1603)". University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116614443.
Texto completoFishwick, Emma. "Choreography as landscape: Landscape discourse framing choreographic practice". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2466.
Texto completoAdendorff, 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.
Texto completoThesis (DPhil)--University of Pretoria, 2017.
National Research Foundation
University of Pretoria
Visual Arts
DPhil
Unrestricted
Villaplana, Ruiz Virginia. "Nuevas Violencias de género. Arte y Cultura Visual". Doctoral thesis, Universidad de Murcia, 2008. http://hdl.handle.net/10803/10721.
Texto completoThe writing of this thesis New gender violence, art and visual culture part of the relation betwee the visual culture and the violence of genre, demonstrating the notions of story, statement, artistic practice in the Fine Arts and communication in the current society.This thesis implies the consideration a series of argumentations on the cultural construction of the social violence. The topic that develops this research is the representation of the new violences of genre in the artistic practice, the statements of the mass media and the visual creation of the videoart. The historical period in that this thesis places is articulated from the practical feminists from the seventies, eighties and nineties up to the current importance where there come together the notions of culture and globalization.The hypothesis of this research departs the artistic audio-visual statements that have been determinant in the construction of the images of the gender violence inherited in our western tradition, but also its attends to the writing of producers and artists or of theoretical silenced texts. The aim of this thesis is to expose the genre as social construction and the gender violence in the works of Fine Arts taking as temporary axis the decade of the seventies, and as final point the narratives of the videoessay at present. For it the methodological lines of those who split are the theory interdisciplines critical feminist, the aesthetic theory, the studies of cultural critique and the studies of communication. The proposed thesis is a debtor of the methodological contributions of the theory to interdiscipline feminist and critique and of the studies of genre, which allow an approximation the hermeneutic - rhetorical space of interpretation contributed from these theories in the sphere of the Fine Arts.This thesis develops by means of the consultation in movie international films and video archives for the production of a corpus of films, videoessay and videoart that propose the emergency of new gender violences and their implication the speech of the Fine Arts.New gender violence, art and visual culture raises a reflection from the aesthetics and the documentary practices of the cinema and the video. The film and video archives, authoresses and distributors in Europe and USA are, among them: Blickpilotin (Berlin), Video Femmes (Quebec), Film Archive imaginaria (Bologna), Woman Make Movies (New York), Cinenova (London) y Electronic Intermix, Frameline (Usa). In this respect, the methodological lines that will be applied for the analysis practical of the cultural statements concerning the new violences will be focused from the method of analysis and the research in films and videoart international archive for the production of a corpus of works of the art feminist and videoarte, placing in opposition the sphere of the Fine Arts to the speech of the Communication of masses in the Visual Culture. The method of analysis there payes attention to several perspectives movie theory feminist, gender studies, communication of masses, sociology, and analysis of the speech but it is guided by the worry of a series of common questions: analysis of the representation of the gender violence and the ideological categories, the relation with the imaginary social one, function to speculate of the dominant speeches and the imaginary ones of which it generates the artistic sphere and the mass media.Definitively, a look towards the Visual Culture of the artistic practices feminists. Silenced voices that demand the consideration of a hermeneutics that warns of the bankrupts in black, that supposes the logic of the domination, the gender violence in the Visual contemporary Culture. Statements of the Visual Culture that answer to other ways of looking for a new critical reading.
Birchler, Susan. "Ecological Art: Ruth Wallen and Cultural Activism". [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001969.
Texto completoHaden, Heather Jean. "The Aesthetics of Unease: Telepresence Art and Hyper-Subjectivity". Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429862881.
Texto completoRodrigues, Wladimir Wagner [UNESP]. "As mulheres de Klaxon: o universo feminino a partir dos modernistas". Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/86907.
Texto completoO presente trabalho tem como tema a visão dos modernistas sobre o universo feminino, a partir de KLAXON – Mensário de Arte Moderna, primeiro periódico modernista. Foram utilizados conceitos do sociólogo francês Pierre Bourdieu (1930-2002), como referência teórica para estabelecer ligações entre o campo artístico e o campo social, no momento em que aconteceram os movimentos Modernista e Feminista emergentes. A investigação seguiu os rumos que a arte brasileira tomava para a inserção da mulher neste campo, como agente ativo, tendo em mente, principalmente, o papel desempenhado pela pintora Anita Malfatti enquanto “estopim do modernismo”. O período analisado compreende as mudanças ocorridas no final do século XIX (com a aceitação de matrícula de mulheres na Academia Nacional de Belas Artes), no Rio de Janeiro e se estende até o início da década de 30, quando o Modernismo se consolida como movimento com grande participação feminina. O recorte se dá com base nas artistas citadas em KLAXON: Agnes Ayres (1898-1940), Anita Malfatti (1889-1963), Antonietta Rudge (Miller) (1885-1974), Bebé Daniels (1901-1971), Céline Arnauld (1893-1952), Gloria Swanson (1899-1983), Guiomar Novaes (1894-1979), Perola White (Pearl White) (1889-1938), Sarah Bernhardt (1844- 1923), Tarsila do Amaral (1886-1973) e Zina Aita (1900-1967). Inclui, também, o estudo de três textos sobre mulheres: Sarah, de Rubens de Moraes; As Cortesãs (das canções gregas), de Guilherme de Almeida; e A Extraordinária História da Mulher que se tornou Infinita, de Antonio Carlos Couto de Barros. Os resultados apontam uma visão mais aberta sobre o universo feminino, em relação ao século precedente, mas ainda com aspectos conservadores
This work aims to reveal the judgments of Brazilian male modern artists concerning to female universe, and adopts as a main stream of arguments “KLAXON” – a monthly magazine of Modern Art, and the very first newspaper of Modernist Movement, in Brazil. Therefore, concepts and theories of the French-sociologist Pierre Bourdieu (1930-2002) were equally applied in order to put in a well-connected association some events from artistic camp and those from social camp, just a time when both Modernist and Feminist movements were exactly taking place in Arts and in society. This investigation keeps on following the route that had to be traced on Brazilian art and that had to give to those women some insertion at a powerful artistic scale, an example to have in mind is that one taken from the presence of the Brazilian female painter Anita Malfatti, whose role was very important for the so called “boom of Modernist Movement”. The historical period analyzed includes the changes that occurred by the final of the XIX century, when women were being admitted on the “Academia Nacional de Belas Artes”, in Rio de Janeiro, and its goes up to the end of the 30’s, a period when Modernist Movement is consolidated as a real movement, accompanied from a large contribution of women. The most precious examples that can be illustrated with female artists’ presence, cited by KLAXON, are: Agnes Ayres (1898-1940), Anita Malfatti (1889-1963), Antonietta Rudge (Miller) (1885-1974), Bebé Daniels (1901-1971), Céline Arnauld (1893-1952), Gloria Swanson (1899-1983), Guiomar Novaes (1894-1979), Perola White (Pearl White) (1889- 1938), Sarah Bernhardt (1844-1923), Tarsila do Amaral (1886-1973) e Zina Aita (1900- 1967). It also includes a study of three texts about women: Sarah, by Rubens de Moraes; As Cortesãs (“The Courtesans”, those from the Greek songs), by Guilherme de Almeida; and A Extraordinária História da Mulher que se tornou Infinita
Fiely, Megan Elisabeth. "“Within a Framework of Limitations”: Marianne Strengell’s Work as an Educator, Weaver, and Designer". Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143405799.
Texto completoSchwartz, Erin Stock. "Streaking and Straight Pins: Constructing Masculinity on an Antebellum College Campus". W&M ScholarWorks, 2015. https://scholarworks.wm.edu/etd/1539720313.
Texto completoPankl, Elisabeth Erin. "The critical geographies of Frida Kahlo". Diss., Kansas State University, 2014. http://hdl.handle.net/2097/18795.
Texto completoDepartment of Geography
Kevin Blake
Mexican artist and global phenomenon Frida Kahlo (1907-1954) fascinates and inspires people from all walks of life. Rather than simply approaching the life and work of Kahlo from a traditional art historical perspective, this dissertation draws from the interdisciplinary nature of critical human geography to investigate Kahlo. Specifically, this work is informed by two sub-fields of critical human geography—feminist geography and cultural geography. Kahlo’s iconic status as a feminist symbol makes feminist geography an obvious choice while cultural geography provides the dominant methodology of textual analysis. Both sub-fields are drawn together by the use of a poststructuralist theoretical foundation that views no one meaning or interpretation as fixed, but rather posits that meanings and interpretations are fluid and open to a variety of conclusions. The primary research question in this dissertation is, “How are the critical geographies of hybridity, embodiment, and glocalization developed and explored in Frida Kahlo’s art and life?” The question is answered through the geographical exploration of Kahlo’s work, life, and iconic status as a major public figure. I delve into each of the three components of the question (hybridity, embodiment, and glocalization) by connecting geographical concepts and understandings to Kahlo and her work. I extend this exploration by arguing that Kahlo demonstrates how the self both mirrors and constructs critical geographies. This research seeks to expand and deepen the understanding of Kahlo as a significant geographical figure—an artist who was intensely aware of people and place. Additionally, this research draws together diverse threads of geographic inquiry by highlighting the interdisciplinary and humanistic qualities of the discipline. Perhaps most importantly, this dissertation positions Kahlo as a critical geographer—defying the sometimes arbitrary and limited notions imposed on the discipline and its practitioners. I assert that Kahlo’s work and life are inherently a lived expression of geographical ideas that manifest themselves in a physical, mental, and emotional sense. Ultimately, Kahlo constructs an embodied geographic text—creating knowledge and helping people understand identity and place in a different way.
Gaier, Samantha. "Interior Decoration as Fine Art: Rachel Feinstein and The Sorbet Room, 2001". Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363604230.
Texto completoLockette, Philip M. "Sex in the Kitchen: The Re-interpretation of Gendered Space Within the Post-World War II Suburban Home in the West". DigitalCommons@USU, 2010. https://digitalcommons.usu.edu/etd/668.
Texto completoSaidel, Deborah J. "Women in Music: Letting a Long Story Be Long Contemplating Women’s Sonic, Musical, and Spiritual Experiences in Prehistory". VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5635.
Texto completoTvardovskas, 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.
Texto completoTese (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
Rodrigues, Wladimir Wagner. "As mulheres de Klaxon : o universo feminino a partir dos modernistas /". São Paulo : [s.n.], 2010. http://hdl.handle.net/11449/86907.
Texto completoBanca: Rejane Coutinho
Banca: Loris Graldi Rampazzo
Resumo: O presente trabalho tem como tema a visão dos modernistas sobre o universo feminino, a partir de KLAXON - Mensário de Arte Moderna, primeiro periódico modernista. Foram utilizados conceitos do sociólogo francês Pierre Bourdieu (1930-2002), como referência teórica para estabelecer ligações entre o campo artístico e o campo social, no momento em que aconteceram os movimentos Modernista e Feminista emergentes. A investigação seguiu os rumos que a arte brasileira tomava para a inserção da mulher neste campo, como agente ativo, tendo em mente, principalmente, o papel desempenhado pela pintora Anita Malfatti enquanto "estopim do modernismo". O período analisado compreende as mudanças ocorridas no final do século XIX (com a aceitação de matrícula de mulheres na Academia Nacional de Belas Artes), no Rio de Janeiro e se estende até o início da década de 30, quando o Modernismo se consolida como movimento com grande participação feminina. O recorte se dá com base nas artistas citadas em KLAXON: Agnes Ayres (1898-1940), Anita Malfatti (1889-1963), Antonietta Rudge (Miller) (1885-1974), Bebé Daniels (1901-1971), Céline Arnauld (1893-1952), Gloria Swanson (1899-1983), Guiomar Novaes (1894-1979), Perola White (Pearl White) (1889-1938), Sarah Bernhardt (1844- 1923), Tarsila do Amaral (1886-1973) e Zina Aita (1900-1967). Inclui, também, o estudo de três textos sobre mulheres: Sarah, de Rubens de Moraes; As Cortesãs (das canções gregas), de Guilherme de Almeida; e A Extraordinária História da Mulher que se tornou Infinita, de Antonio Carlos Couto de Barros. Os resultados apontam uma visão mais aberta sobre o universo feminino, em relação ao século precedente, mas ainda com aspectos conservadores
Abstract: This work aims to reveal the judgments of Brazilian male modern artists concerning to female universe, and adopts as a main stream of arguments "KLAXON" - a monthly magazine of Modern Art, and the very first newspaper of Modernist Movement, in Brazil. Therefore, concepts and theories of the French-sociologist Pierre Bourdieu (1930-2002) were equally applied in order to put in a well-connected association some events from artistic camp and those from social camp, just a time when both Modernist and Feminist movements were exactly taking place in Arts and in society. This investigation keeps on following the route that had to be traced on Brazilian art and that had to give to those women some insertion at a powerful artistic scale, an example to have in mind is that one taken from the presence of the Brazilian female painter Anita Malfatti, whose role was very important for the so called "boom of Modernist Movement". The historical period analyzed includes the changes that occurred by the final of the XIX century, when women were being admitted on the "Academia Nacional de Belas Artes", in Rio de Janeiro, and its goes up to the end of the 30's, a period when Modernist Movement is consolidated as a real movement, accompanied from a large contribution of women. The most precious examples that can be illustrated with female artists' presence, cited by KLAXON, are: Agnes Ayres (1898-1940), Anita Malfatti (1889-1963), Antonietta Rudge (Miller) (1885-1974), Bebé Daniels (1901-1971), Céline Arnauld (1893-1952), Gloria Swanson (1899-1983), Guiomar Novaes (1894-1979), Perola White (Pearl White) (1889- 1938), Sarah Bernhardt (1844-1923), Tarsila do Amaral (1886-1973) e Zina Aita (1900- 1967). It also includes a study of three texts about women: Sarah, by Rubens de Moraes; As Cortesãs ("The Courtesans", those from the Greek songs), by Guilherme de Almeida; and A Extraordinária História da Mulher que se tornou Infinita
Mestre
Gorman, Caitlin Marie. "Yasumasa Morimura: Appropriator of Images, Cultures, and Identities". Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363520942.
Texto completoDominguez, Danielle T. ""The more they’re beaten the better they be": Gendered Violence and Abuse in Victorian Laws and Literature". Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2270.
Texto completoWilliams, Shelley. "Text and Tapestry: "The Lady and the Unicorn," Christine de Pizan and the le Vistes". Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2929.pdf.
Texto completoRocha, Eva. "Antithetical Commentaries on X, Y and the Disruption of Being". VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4278.
Texto completoLe, Veque Mollie S. "Dirty Pictures—Not for Sale: Re-reading Bellocq’s Storyville Portraits". Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cgu_etd/94.
Texto completoGibson, Trish J. "Embedded in These Walls". VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5642.
Texto completoRamos, Isabella. "Walking in The City: Koji Nakano’s Reimagining and Re-Sounding of The Tale Of Genji". Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1037.
Texto completoAmanat, Shayda. "Iran and the Arab World Through A Female Lens: Deconstructing Western Phantasms and Terrors". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/428.
Texto completoWinther, Leslie. "Från Japan till Sundborn : En undersökning av Karin Larssons textilier". Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-435083.
Texto completoNajar, Daronkolae Esmaeil. "Pam Gems: Rethinking Her Life and the Impact of Her Plays on British Stage". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523487108676837.
Texto completoFrechette, Mariel. "Danger in Deviance: Colonial Imagery and the Power of Indigenous Female Sexuality in New Spain". Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/210.
Texto completoKline, Amanda Le. "Speculation on the Trajectory of Human Kind". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1404324124.
Texto completoTan, Eliza. "Yoshiko Shimada : art, feminism and memory in Japan after 1989". Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/37319/.
Texto completoKing, Taylor Z. "A Spectacle and Nothing Strange". VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5905.
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