Tesis sobre el tema "Visual sociology"
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Campion, Britta Maree Art College of Fine Arts UNSW. "Photography as a method of visual sociology: An investigation of the potential of still photography as a method of visual sociology". Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/42059.
Texto completoRowbury, Claire S. J. "Parenting and visual disability : a study of mothers and infants with differing combinations of visual status". Thesis, University of Nottingham, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334851.
Texto completoBates, Charlotte. "Vital bodies : a visual sociology of health and illness in everyday life". Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6373/.
Texto completoHayes, S. "Building community : a sociology of theatre audiences". Thesis, University of Salford, 2006. http://usir.salford.ac.uk/2034/.
Texto completoPayling, David. "Visual music composition with electronic sound and video". Thesis, Staffordshire University, 2014. http://eprints.staffs.ac.uk/2047/.
Texto completoNixon, Sean. "Hard looks : masculinities, the visual and practices of consumption in the 1980s". Thesis, Open University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251482.
Texto completoBergqvist, Erica. "En studie om personer med synnedsättning ur ett genusperspektiv". Thesis, Mittuniversitetet, Institutionen för humaniora och samhällsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-42973.
Texto completo2021-06-16
Meyer, Renate, Markus Höllerer, Dennis Jancsary y Leeuwen Theo van. "The visual dimension in organizing, organization, and organization research: Core ideas, current developments, and promising avenues". Taylor & Francis Group, 2013. http://dx.doi.org/10.1080/19416520.2013.781867.
Texto completoEadie, William Payne. "The sociology of an artistic movement : art nouveau in Glasgow, 1890-1914". Thesis, University of Glasgow, 1989. http://theses.gla.ac.uk/2086/.
Texto completoMaia, Renato. "Percursos para novas imagens: a produ??o audiovisual por n?o videntes". Universidade Federal do Rio Grande do Norte, 2011. http://repositorio.ufrn.br:8080/jspui/handle/123456789/13626.
Texto completoThe purpose is to write a reflection on the audiovisual production by the visually impaired. The starting point for this research was a documentary video production workshop offered by the Instituto de Educa??o e Reabilita??o de Cegos do Rio Grande do Norte - IERC / RN, with the participation of blind people with low vision and sighted employees of the institution. The research approach follows the precepts of complex thinking, where work is woven into the network, along with the researched. The theoretical framework is based on the theory of French sociologist Edgar Morin, and other important thinkers for this work, namely: Erving Goffman, Paulo Freire, Michel Foucault, Edward Said, Jacques Aumont, Phillpe Dubois, as well as scholars who think and theorize about his own condition and conduct discussions on the issue of blindness: Francisco Jose de Lima, Evgen Bavcar Jacques Lusseyran and Joana Belarmino. The research was formulated based on the statement in the interest of respondents to understand and produce visual images using video as a tool. In this sense, the methodology adopted approaches of action research in constructing the text and dialogue with the participation of those involved in the project. The technique of gathering the information was based on ethnographic description describing the dynamics of the workshop, the relationships between participants, relationship to the other that sees and the manner of operation of equipment. The main focus is the relationship based on dialogue of information, attitudes and ways of knowing from experience and capacity developed and obstacles for blind people to produce visual images using other benchmarks, such as touch, smell and time dimension and space, and add references that give new meaning to the guidelines based on visuality of ministering to the workshop. It is also held to discuss aspects related to the concept of image with sociological reflection about the audiovisual production made by blind people socially constructed and perpetuated by what Edgar Morin called cultural imprinting. Thus we attempted to walk the route with its obstacles and achievements in the production of new images that were seen
O prop?sito do trabalho ? fazer uma reflex?o sobre a produ??o audiovisual por deficientes visuais. O ponto de partida desta pesquisa foi uma Oficina de Produ??o de V?deodocument?rio oferecida pelo Instituto de Educa??o e Reabilita??o de Cegos do Rio Grande do Norte - IERC/RN, com a participa??o de pessoas cegas, com baixa vis?o e videntes colaboradores da institui??o. A abordagem da pesquisa segue os preceitos do pensamento complexo, no qual o trabalho ? tecido em rede, junto com os pesquisados. O referencial te?rico ? fundamentado na teoria do soci?logo franc?s Edgar Morin, al?m de outros pensadores importantes para este trabalho, a saber: Erving Goffman, Paulo Freire, Michel Foucault, Edward Said, Jacques Aumont, Phillpe Dubois, bem como estudiosos que pensam e teorizam sobre sua pr?pria condi??o e realizam discuss?es sobre a quest?o da cegueira: Francisco Jos? de Lima, Evgen Bavcar, Jacques Lusseyran e Joana Belarmino. A pesquisa foi formulada a partir da constata??o do interesse dos pesquisados em entender e produzir imagens visuais utilizando o v?deo como ferramenta. Nesse sentido, a metodologia adotada se aproxima da pesquisa-a??o construindo o texto em di?logo e com a participa??o dos envolvidos no projeto. A t?cnica de coleta das informa??es foi fundamentada na descri??o etnogr?fica descrevendo a din?mica da oficina, as rela??es entre os participantes, a rela??o com o outro que enxerga e a forma de operacionalidade dos equipamentos. O enfoque principal ? a rela??o fundamentada no di?logo de informa??es, posturas e formas de conhecer a partir da experi?ncia desenvolvida e a capacidade e os obst?culos das pessoas cegas para produzir imagens visuais utilizando outros referenciais, tais como: o tato, o olfato e a dimens?o de tempo e espa?o, referenciais que somam e d?o um novo significado ?s orienta??es fundamentadas na visualidade dos ministrantes da oficina. Tamb?m ? realizada a discuss?o de aspectos referentes ao conceito de imagem com reflex?o sociol?gica a respeito da produ??o audiovisual feita por pessoas cegas constru?da e perpetuada socialmente atrav?s do que Edgar Morin denominou de imprinting cultural. Desse modo buscou-se percorrer os percursos, com seus obst?culos e conquistas, na produ??o dessas novas imagens que se evidenciam
Liebenberg, Linda. "The use of visual research methods in the South African research context". Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50532.
Texto completoENGLISH ABSTRACT: South African society presents a complex and diverse environment to social scientists. Within immense economic stratification; a multitude of cultures and classes; languages and their dialects; and varied racial groups, researchers attempt to produce information that contributes constructively to policy, programs and a host of services. Beneath the surface also lay complex power issues informed by both political and cultural histories. Many contexts in which researchers find themselves continue to be marginalised and oppressed due to factors such as illiteracy and low-levels of education, age, gender and poverty. These groups often include women and children, in particular adolescents. Qualitative visual methods may provide researchers with a tool by which to address many of the concerns raised in the literature surrounding research carried out under such conditions. Visual methods may remove inherent power imbalances, as well as traditional barriers, such as culture and language, that stem from more 'conservative' research methods. Images may allow participants to vocalise the taken-for-granted in their lives in an empowering manner. The recognition and use of visual images in research with marginalised and oppressed groups is being increasingly recognised by the larger research community. A preliminary overview of the available literature highlights existing disagreement surrounding the theoretical underpinnings of visual methods. This is particularly seen in the various and confusing levels of abstraction presented in the literature. The primary aim of this study is therefore, to gain clarity and understanding as regards the methodological and epistemological underpinnings of visual research methods within the social sciences. As such, a comprehensive literature review has been conducted. A second aim of the study is to set out a typology of methods that would be relevant for use in marginalised communities. The third aim of the study is empirical in nature and aims to highlight the role and/or possibilities of visual research methods within the South African social sciences research context. This is achieved by means of a case study which explores how motherhood is experienced by five teenagers in a sub-economic community outside of Cape Town. It does this by providing participants cameras with which to visually express their understanding and experiences of motherhood. Processed photographs in this case study have been analysed by means of informal discussion, directed by the images, with the participants themselves. These discussions were recorded and transcribed. The results of the interviews were then analysed using grounded theory (Glaser & Strauss, 1967). The results emerging from this have been compared with relevant literature. In this way, results are also triangulated, adding to their reliability (Lucchinni, 1996). Consequently, results of this case study provide a comparative component by which to assess the applicability of visual methods in the South African research context. Both the literature review as well as experiences of the case study also form the basis of suggestions for further exploration.
AFRIKAANSE OPSOMMING: Die Suid-Afrikaanse gemeenskap bied 'n komplekse en diverse omgewing aan sosiale wetenskaplikes. Binne hewige ekonomiese stratifikasie; 'n verskeidenheid kulture en klasse; tale en dialekte en diverse rassegroepe, poog navorsers om inligting te verskaf om 'n konstruktiewe bydrae te maak aan riglyne, programme en 'n legio dienste. Onder die oppervlakte lê daar ook komplekse magstryde afkomstig van beide 'n kuitereie en politieke geskiedenis. Vele omstandighede waarin navorsers hulself vind word steeds oorheers deur marginalisasie en onderdrukking as gevolg van faktore soos ongeletterdheid, lae vlakke van opvoeding, ouderdom, geslag en armoede. Hierdie groepe bestaan dikwels uit, onder andere, vroue en kinders. Kwalitatiewe visuele tegnieke mag navorsers van die nodige metodes voorsien waarmee verskeie probleme wat in die literatuur uitgelig word aangaande hierdie navorsing, aangespreek kan word. Visuele tegnieke mag inherente magsongelykhede, sowel as tradisionele struikelblokke, soos kultuur en taal wat afkomstig is uit meer 'konserwatiewe' navorsingstegnieke, verwyder. Uitbeeldings mag deelnemers toelaat om die vanselfsprekende in hullewens in 'n opbouende wyse te vokaliseer. Die identifisering en gebruik van visuele uitbeeldings in navorsing met gemarganaliseerde en onderdrukte groepe word tot 'n toenemende mate erken deur die uitgebreide navorsingsgemeenskap. 'n Voorlopige oorsig van die beskikbare literatuur beklemtoon bestaande onenigheid met betrekking tot die teoretiese fondamente van visuele tegnieke. Dit is veral duidelik sigbaar in die uitgebreide en verwarde vlakke van abstraktheid wat in die literatuur voorgestel word. Die primêre doelwit van hierdie studie is dus om groter helderheid en insig met betrekking tot die metodologiese en epistemologiese grondbeginsels van visuele metodes, soos dit in die sosiale wetenskappe voorkom, te verkry. Met hierdie doel voor oë is 'n uitgebreide literatuurondersoek onderneem. 'n Tweede doel van die studie is om 'n tipologie van metodes uiteen te sit wat relevant kan wees in gemarginaliseerde gemeenskappe. 'n Derde doel van die studie is empiries van aard en beoog om die rol en/of moontlikhede van visuele tegnieke binne die Suid-Afrikaanse sosiale wetenskaplike navorsings konteks te beklemtoon. Dit word bereik deur middel van 'n studie wat ondersoek hoe moederskap ondervind word deur vyf tieners in 'n sub-ekonomiese gemeenskap in die buitewyke van Kaapstad. Dit word uitgevoer deur deelnemers te voorsien van kameras waarmee hul begrip en ondervindings van moederskap visueel uitbeeld. 'n Verdere analise van hierdie studie is deur middel van informele besprekings uitgevoer met die deelnemers, begelei deur die uitbeeldings. Sodanige besprekings is opgeneem en getranskribeer. Die resultate verkry vanuit die onderhoude is daarna geanaliseer deur middel van begronde teorie (Glaser & Strauss, 1967). Die resultate wat hieruit afkomstig was, is vergelyk met relevante literatuur. Op hierdie wyse is resultate bevestig, wat ook verder tot hul betroubaarheid gespreek het (Lucchinni, 1996). Die gevolg is dat die resultate van hierdie studie 'n vergelykende komponent verskaf waarmee die toepaslikheid van visuele tegnieke in die Suid-Afrikaanse navorsingskonteks gemeet kan word. Beide die literatuurstudie, asook die ondervindings vanuit die gevallestudie vorm die basis vir aanbevelings vir verdere ondersoek.
Wang, Jen Jessica. "Efficient social perception in adults : studies on visual perspective-taking and visual working memory". Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/3070/.
Texto completoVillemin, Virginie. "Migration inversée. Le choix de vivre sa retraite dans un pays du Maghreb". Thesis, Université Paris-Saclay (ComUE), 2018. http://www.theses.fr/2018SACLE044/document.
Texto completoFirst and foremost the economical migration about Moroccan, Tunisian, Algerian is the items of various studies in France. Nonetheless the contrary is not much approach same if the migration France-Maghreb increase among pensioners. It s rational choice to come up to the senior. This thesis take place to reverse these migratory flows all migration accept area economy and the reference society juste as much the news society. Last but no least, this thesis is sociologie ask the border between the research and the producer
Jancsary, Dennis, Markus Höllerer y Renate Meyer. "Critical analysis of visual and multimodal texts". SAGE, 2016. http://epub.wu.ac.at/6126/1/Dennis_etal_2016_SAGE%2Dcritical%2Danalysis.pdf.
Texto completoFernandez, Nichole Marie. "Visualizing the nation : national identity, tourism advertising, and nation branding in Croatia". Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25678.
Texto completoKufner, Juergen. "Tall building policy making and implementation in central London : visual impacts on regionally protected views from 2000 to 2008". Thesis, London School of Economics and Political Science (University of London), 2011. http://etheses.lse.ac.uk/211/.
Texto completoBlackwood, Andria Lynn. "Curating Inequality: The Link Between Cultural Reproduction and Race in the Visual Arts". Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1321704421.
Texto completoMorley, Sarah. "The design and evaluation of non-visual information systems for blind users". Thesis, University of Hertfordshire, 1999. http://hdl.handle.net/2299/14047.
Texto completoAhmad, Aziza. "Aziza's Friendship Compendium, 1st Edition (Annotated and Expanded)". Thesis, Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7963.
Texto completoVarde, Abhijit. "Local looking, developing a context-specific model for a visual ethnography a representational study of child labor in India /". Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1132682652.
Texto completoHartle, Frank X. III. "Technology Innovation| A Study of Wireless, Visual Information Communication Technology on Situational Awareness for Tactical Police Commanders". Thesis, Robert Morris University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3702800.
Texto completoTechnology innovations in visual, wireless communications have yet to be leveraged by law enforcement. These technologies have a future in law enforcement. This limited study has provided evidence that the addition of visual, wireless communication for tactical police commanders enhances situational awareness and speeds decision making. In addition, this study has established that the technology would be accepted for use by police tactical officers once utility is demonstrated. Several issues remain that may delay its widespread adoption. These include unfamiliarity, a police centric design that is rugged, reliable and without impaired vision, and liability and cost. In addition, there is not a current wireless, broadband backbone that could transmit the signals over a large distance. Once these limitations have been overcome this technology has the potential to revolutionize policing and tactical law enforcement.
Davidson, Michele. "The use of visual art for community development with specific reference to Kayamandi, Stellenbosch". Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53693.
Texto completoENGLISH ABSTRACT: The central theme of this thesis is to establish the use of visual art for community development. This is done within the context of South Africa in Kayamandi, a Black Township near Stellenbosch. This example has been chosen because one of South Africa's major developmental challenges lies in Black Townships, due to the previous government's negligence toward these areas. Since the thesis focuses on a Black Township, the history of Black visual art during the 20th century, under colonial and postcolonial regimes is analysed. Subsequently, the notion of community development and how visual art contributes to development is outlined. The important role that community arts and community arts centres play in the contribution of visual art to community development is also defined. To this end qualitative and quantitative research has been conducted in Kayamandi. Artists, visual art groups and possible community arts centres were identified. By way of the Kayamandi study, it is understood that visual art is an established practice in Kayamandi. Under specified circumstances, visual art practice in Kayamandi does lead to community development. The establishment of a community arts centre could further increase people's use of visual art for community development.
AFRIKAANSE OPSOMMING: Die sentrale doel van die tesis is om die gebruik van visuele kuns vir gemeenskapsontwikkeling vas te stel. Dit word vasgestel binne die Suid- Afrikaanse konteks met spesifieke verwysing na Kayamandi, 'n Swart woonbuurt naby Stellenbosch. Dié gemeenskap is gekies omdat Swart woonbuurte een van Suid-Afrika se grootste ontwikkelingsuitdagings vergestalt. Dié uitdaging is die gevolg van nalatigheid van die vorige apartheidsregering ten opsigte van die gebiede. Die geskiedenis van Swart visuele kuns gedurende die 20ste eeu tydens die koloniale en postkoloniale regimes word ondersoek. Gevolglik word gemeenskapsontwikkeling en hoe visuele kuns daartoe bydra uiteengesit en bespreek. Verder word die belangrikheid van gemeenskapskuns en - kunssentrums én hul bydrae tot visuele kuns vir gemeenskapsontwikkeling gedefiniëer. Vir dié doel is kwalitatiewe en kwantitatiewe navorsing in die verband in Kayamandi gedoen. Kunstenaars, visuele kuns groepe en moontlike gemeenskapskunssentrums is ge-identifiseer. Die Kayamandi studie bewys dat visuele kuns 'n gevestigde praktyk in Kayamandi is. In gespesifiseerde omstandighede dra visuele kuns wel tot gemeenskapsontwikkeling in Kayamandi by. Die ontwikkeling van 'n gemeenskapskunssentrum in Kayamandi sal die inwoners se gebruik van visuele kuns vir gemeenskapsontwikkeling vergroot.
Escribano, Marianna. "Interrelación entre pintura, poesía, música y la actitud del público ante el estímulo artístico". Doctoral thesis, Universitat de Barcelona, 1987. http://hdl.handle.net/10803/672087.
Texto completoGaede, Rolf Joachim. "Validity in image-based research : a Delphi study". Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/16049.
Texto completoENGLISH ABSTRACT: The area of study is the notion of validity in image-based research, i.e. research approaches where visual images such as photographs or video recordings form an integral part of one or more of the methods used. In the literature investigation chapters of the study, (1) the notion of validity is reviewed with special reference to contributions by Cook and Campbell, Guba and Lincoln, Kvale, Lather and Morse; (2) the inherent properties of visual images are discussed from a semiotic perspective, and (3) following a discussion of reflexivity in image-based research, the various domains of image-based research practice are demarcated according to the unit of analysis, the data format, the researcher role (outsider, insider, participant) and the production of the visual material (ex ante or ex post with weak or strong researcher control). The literature investigation chapters were taken as the point of departure for the development of a conceptual framework for assessing validity in image-based research, the mechanics of which are illustrated with reference to selected aspects of image-based research projects by Lomax and Casey, Clark and Zimmer, Rich and Chalfen, DuFon and Chaplin. The conceptual framework was refined on the strength of a Delphi study. The Delphi procedure involved canvassing and pooling the opinions of experts in the field of image-based research about issues of validity with a view to ensure that the assumptions made during the development of the conceptual framework fit sufficiently with image-based research practice. Flowing from the literature investigation chapters as well as the Delphi procedure, the central thesis of the study is that the notion of validity is in the first instance contextdependent and that this is compounded in the case of image-based research by the relative instability of iconic codes and the strong drift towards 'unlimited' semiosis inherent in the visual communication process.
AFRIKAANSE OPSOMMING: Die studieveld behels ‘n ondersoek na die gedagte van geldigheid soos van toepassing op beeldgebaseerde navorsing, d.w.s. navorsingsbenaderings waar visuele beelde soos foto’s of video-opnames ‘n integrale deel uitmaak maak een of meer van die metodes wat gebruik word. In die hoofstukke wat die literatuurstudie uitmaak, word (1) die gedagte van geldigheid onder die loep geneem met spesifieke verwysing na die bydraes van Cook en Campbell, Guba en Lincoln, Kvale, Lather en Morse, (2) word die inherente eienskappe van visuele beelde vanaf 'n semiotiese oogpunt bespreek, en (3) word die verskeie velde van beeldgebaseerde navorsingspraktyk afgebaken volgens die eenheid van ontleding, die dataformaat, die rol van die navorser (buitestaander, binnestaander, deelnemer) en die produksie van die visuele materiaal (ex ante of ex post met sterk of swak navorserkontrole). Die hoofstukke wat gemoeid is met die literatuurstudie is as vertrekpunt geneem vir die daarstelling van ‘n konsepsuele raamwerk vir geldigheid aangaande beeldgebaseerde navorsing, en die werking hiervan is geïllustreer met verwysing na geselekteerde aspekte van beeldgebaseerde navorsing deur Lomax en Casey, Clark en Zimmer, Rich en Chalfen, DuFon end Chaplin. Hierdie konsepsuele raamwerk is verder verfyn op grond van ‘n Delphi-prosedure. Die Delphi-prosedure het behels dat die opinies van deskundiges in die veld van beeldgebaseerde navorsing aangaande kwessies van geldigheid ingewin en saamgevoeg is met die oog om te verseker dat die aannames wat gemaak is ten tyde van die ontwikkeling van die konsepsuele raamwerk genoegsaam gepas is vir die praktyk van beeldgebaseerde navorsing. Die tesis van die studie, gebaseer op die uitkomste van die literatuurstudie en die Delphi-prosedure, is dat die gedagte van geldigheid konteks-afhanklik is, wat in die geval van beeldgebaseerde navorsing vererger word deur die feit dat ikoniese kodes relatiefonstabiel is en dat die proses van visuele kommunikasie 'n sterk tendens na 'eindelose' semiosis toon.
Froschauer, Ulrike y Manfred Lueger. "Artefact Analysis in Organisational Research". WU Vienna University of Economics and Business, 2016. http://epub.wu.ac.at/5113/1/FroschauerLueger2016.pdf.
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Morton, Felicity. "Valuing difference : A visual investigation of the contemporary depiction of Down syndrome". Thesis, University of Ballarat, 2008. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/45208.
Texto completoMaster of Arts (Visual Arts)
Ware, Lezlee J. "The Highs and Lows of Visual Salience and Status:Influential Factors in Source Monitoring Decisions". Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1242239270.
Texto completoMassey, Carissa A. "The Responsibility of Forms: Social and Visual Rhetorics of Appalachian Identity". Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1242276510.
Texto completoJames, Treasa M. "The Role of Social Capital in the Empowerment of Individuals with Visual Impairment: The Case of Antigua and Barbuda". Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1180881733.
Texto completoJenner, Anton. "Visual and Narrative Texts of Chronic Illness: An exploration of the relationship between disease, the body, and the ontological assumptions inherent in medical treatment for hepatitis C". Thesis, University of Canterbury. Sociology and Anthropology, 2003. http://hdl.handle.net/10092/910.
Texto completoMuellenberg, Martha. "The effectiveness of parental involvement on achievement and multicultural awareness at the middle school level in a visual arts program". Thesis, University of South Dakota, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3629803.
Texto completoIn the past few decades, parental involvement has increasingly become more noted in a child's educational journey. More administrators and teachers are recognizing the value of parental involvement. Parental involvement benefits include increased student achievement and stronger school-family partnerships. Implementing parental involvement practices is often required for schools to receive federal support such as Title I funds. Although there is supporting research that shows the positive effects of parental involvement in elementary school settings, there is limited research as to how it can affect students at the middle school level. In addition, other effects of parental involvement that stretch beyond student learning, such as multicultural awareness, have received much less attention.
The purpose of this study was to determine whether or not parental involvement at the middle school level has an impact on students' multicultural awareness and learning. Quantitative and qualitative analyses were performed to identify statistical significance and emerging themes to be used to enhance classroom practices at the middle school level. An instrument adapted from the Civil Rights Project (CRP) was used to collect data from middle school students to measure multicultural awareness. Four and five-point Likert scales were used to measure respondents' levels of awareness. A researcher-created summative assessment was used as an instrument to evaluate student learning. Additionally, qualitative questions were used to elicit students' perceptions regarding culture and family involvement.
Quantitative findings from this study did not reveal statistical significance between the control and parental involvement groups regarding student learning and multicultural awareness. Practical significance was shown in two of the survey questions, which indicated small to medium effects between group and time and small to medium effects of interactions. Practical significance was also evident in the interactions between groups based on grade level in three of the survey questions. Qualitatively, the majority of middle school students felt they were open to learning about cultures different from their own. Most students believed their parents would enjoy hearing about what they learn in visual arts classes. Other themes emerged including the misconception that culture is exclusively related to peoples of the past and the notion that cultural topics are only discussed in terms of the oppression of others. The majority of fifth and sixth grade respondents believed that art class was a venue for learning about different cultures and could recognize the benefits of learning about people from different parts of the world.
Shah, Minoo Gunwant 1964. "Verbal and visual learning in a sample of Native American children: A study of the effects of practice on memory". Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/288875.
Texto completoÅsberg, Cecilia. "Looking at Science, Looking at You! : The Feminist Re-visions of Nature(Brain and Genes)". Linköpings universitet, Tema Genus, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-66375.
Texto completoISBN 91-87792-49-4 not valid for this book.
Crilley, Rhys. "The visual politics of legitimation in the digital age : the cases of the British Army and the Syrian Opposition". Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6906/.
Texto completoCOLOMBO, CHIARA. "Adolescenti in migrazione: la rappresentazione visuale di identità e chances di vita". Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1248.
Texto completoThe study’s aim is to describe the construction and representation of identity during the adolescent transition. Hypothesizing circularity and reciprocal determination between individuals and society, the study deals with the topic of identity as the result of reflexivity and lifetime chances which are offered by the context. Attention is focused on adolescents with foreign origins, chosen as the subject of study because they are called to experience identity transition in a way which is broadened due to their migratory experiences, and exemplified by paths involving Self-construction which their Italian peers also follow. The analysis thus underscores the generational analogy between Italian and foreign adolescents and the plurality of definitions of identity, also irrespective of any migratory experience. The study followed the visual sociology approach, both in theoretical and analytical terms as well as at the level of empirical research. The 12 Italian and foreign adolescents who were interviewed spoke about themselves through images and videos. 3 types of identity construction were identified thanks to these presentations: relational, planners and dreamers, and a reciprocal connection between individuals and society, and the plurality of paths in the transition to adult life were confirmed.
COLOMBO, CHIARA. "Adolescenti in migrazione: la rappresentazione visuale di identità e chances di vita". Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1248.
Texto completoThe study’s aim is to describe the construction and representation of identity during the adolescent transition. Hypothesizing circularity and reciprocal determination between individuals and society, the study deals with the topic of identity as the result of reflexivity and lifetime chances which are offered by the context. Attention is focused on adolescents with foreign origins, chosen as the subject of study because they are called to experience identity transition in a way which is broadened due to their migratory experiences, and exemplified by paths involving Self-construction which their Italian peers also follow. The analysis thus underscores the generational analogy between Italian and foreign adolescents and the plurality of definitions of identity, also irrespective of any migratory experience. The study followed the visual sociology approach, both in theoretical and analytical terms as well as at the level of empirical research. The 12 Italian and foreign adolescents who were interviewed spoke about themselves through images and videos. 3 types of identity construction were identified thanks to these presentations: relational, planners and dreamers, and a reciprocal connection between individuals and society, and the plurality of paths in the transition to adult life were confirmed.
Harrington, Barbara. "Walking, landscape and visual culture : how walkers engage with, and conceive of, the landscapes in which they walk". Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/29627/.
Texto completoHerman, David. "Perceiving Indeterminacy: A Theoretical Framework of the Perceptual Rite of Passage for Preadolescents". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248481/.
Texto completoMOURA, Lisandro Lucas de Lima. "O imaginário como mística do ensino em Sociologia: sobre a "atenção imaginante" nas narrativas visuais de Bagé". Universidade Federal de Pelotas, 2013. http://repositorio.ufpel.edu.br/handle/ri/1622.
Texto completoThis Master s thesis, which was developed in the Post-graduate Program in Education (FAE) at the Universidade Federal de Pelotas, in Pelotas, RS, Brazil, in the line of research named Written Culture: Languages and Learning, deals with the construction of new educative experiences in Sociology teaching based on some aspects of the cultural tradition in Bagé, Rio Grande do Sul (RS), Brazil. Studies carried out by the Research Group on the Imaginary, Education and Memory (GEPIEM) and theoretical references in the field of the imaginary, such as Gaston Bachelard s poetic phenomenology, Gilbert Durand s science of the man and tradition and Michel Maffesoli s Sociology of Everyday Life, have provided the basis for this research. This investigation aims at identifying how Sociology teaching can contribute to the process of (re)enthrallment with the world and Education. Therefore, I have used (self)development practices in immersive experiences - similar to teaching mysticism which take into account imaginative attention (Gaston Bachelard) in the production of visual narratives (photos) collected in Bagé. The study has been carried out in three methodological steps: estrangement, embedment and convergence. In the first stage, I have reflected upon the images of personal experiences that have led me to the theme of this research, i. e., I have shown symbolic and imaginary representations which have encouraged my task as a teacher-researcher and as a dweller in Bagé. In the second part, I have shown the construction of an educational project called Narradores de Bagé aimed at students who go to IFSul Campus Bagé; students have been stimulated to dive into the city s everyday life while they focus on themes and spaces of popular and ancestral culture found in traditional communities. The community that was chosen for the visual narratives which were constructed by me and by the students was the one in the Rincão do Inferno, located in the Quilombo de Palmas (Bagé, RS). Finally, the third methodological stage has represented the confluence of the previous steps towards the synthesis of the study in which the teacher-researcher puts into practice his/her own imaginative attention and the one found in his/her teaching, thus, believing in the fictionalization of Education and research itself towards world reenchantment. With the help of the phenomenological method, influenced by Gaston Bachelard, I have gotten symbolic cores which summarize the most common themes of every methodological step: Return, Rooting, Lasso and Tradition. Results have shown the importance of visual narratives and imaginative attention in the construction of mysticism in Sociology teaching, in agreement with the elements of world enchantment: rooting in time and surrounding space remythicalization, the power of rituals and spells , the intuition of the moment, everyday activities, community bonds, sharing moments, original enthusiasm and romanticism of ideas. Imaginative attention, which was awaken by the use of visual narratives, represented the bonds that students and the teacher-researcher constructed with the spaces in Bagé s tradition, thus, helping them to exercise Sociology of poetic imagination. On one hand, imaginative attention mitigated logical, rationalized and utilitarian elements in Sociology teaching. On the other hand, it enhanced ludic, indirect, oneiric and spontaneous aspects which are also indispensable for knowledge construction.
Esta pesquisa de mestrado, desenvolvida na linha de pesquisa Cultura Escrita: linguagens e aprendizagem, do Programa de Pós-graduação em Educação (FAE/UFPel), trata da construção de novas experiências educativas para o ensino da Sociologia, a partir do contato com alguns aspectos da tradição cultural do município de Bagé (Rio Grande do Sul). Com base nos trabalhos desenvolvidos no interior do Grupo de Estudos e Pesquisas sobre Imaginário, Educação e Memória (GEPIEM), tomo como referencial teórico os estudos do campo do Imaginário, dentre eles a fenomenologia poética de Gaston Bachelard, a ciência do homem e da tradição de Gilbert Durand e a Sociologia do Cotidiano de Michel Maffesoli. A problemática desta investigação é identificar de que modo o ensino da Sociologia pode contribuir para o processo de reencantamento do mundo e da educação. Para isso, utilizo-me de práticas de (auto)formação em experiências imersivas, próximas de uma mística do ensino, que contemplem a atenção imaginante (Gaston Bachelard) na produção de narrativas visuais (fotografias) de Bagé. O trabalho se desenvolve em três etapas metodológicas: do estranhamento, do entranhamento e da convergência. Na primeira etapa, medito sobre as imagens de experiências pessoais que me levaram ao tema desta pesquisa. É o momento em que exponho as representações simbólicas e imaginárias que fomentam minha atividade como professor-pesquisador e como habitante da cidade de Bagé. Na segunda parte, apresento a construção de um projeto de formação voltado para os estudantes do IFSul Campus Bagé, chamado Narradores de Bagé. Nesse momento, os estudantes são estimulados a adentrarem o cotidiano do município a partir de temas e espaços da cultura popular e ancestral das comunidades tradicionais. A comunidade escolhida para apreciação das narrativas visuais, construídas por mim e por estudantes, é a da região do Rincão do Inferno, situada no Quilombo de Palmas (Bagé RS). Por fim, a terceira etapa metodológica representa a confluência das etapas anteriores, em direção à síntese do trabalho. Nesse momento, o professor-pesquisador coloca em prática a atenção imaginante de si e do seu próprio fazer docente, investindo na ficcionalização da educação e da própria pesquisa, em direção ao reencantamento do mundo. Com o auxílio do método fenomenológico, sob influência de Gaston Bachelard, extraí núcleos simbólicos que remetem aos temas mais recorrentes de cada uma das três etapas metodológicas: Retorno, Enraizamento, Laço e Tradição. O resultado aponta para a importância das narrativas visuais e da atenção imaginante para a construção de uma mística do ensino em Sociologia, em consonância com os elementos do reencantamento do mundo: enraizamento ao tempo e ao espaço circundante, remitologização, poder do ritual e do feitiço , intuição do instante, agir cotidiano, laços comunitários, momentos de partilha, entusiasmo primordial, romantismo das ideias. A atenção imaginante, despertada pelo uso das narrativas visuais, representou a adesão dos estudantes e do professor-pesquisador aos espaços da tradição bageense, ajudando a exercitar uma sociologia da imaginação poética. A atenção imaginante, portanto, reduziu os elementos lógicos, racionalizantes e utilitários do ensino da Sociologia e aumentou os aspectos lúdicos, indiretos, oníricos e espontâneos, indispensáveis também para a construção do conhecimento.
León-Quijano, Camilo. "Fabriquer la communauté imagée : une ethnographie visuelle à Sarcelles". Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0103.
Texto completoThe present dissertation explores the social life of pictures at Sarcelles, a city to the north of Paris. This research focuses on the materials and photographic interactions that socially define this place. Based on a visual ethnography conducted between 2015 and 2018, this research explores the “imaged practices” (pratiques imagées), those activities that define and frame the creation, publicization, and performance of visual materials. The main objective of this dissertation is to study what I have called an imaged community (communauté imagée). This concept is a means to study the visual ecology of imaged practices both from a pragmatic and phenomenological point of view. While most researches in the field use photography as a means to describe or illustrate social phenomena, the present one advocates for a critical, reflexive, and participatory photographic ethnography based on sensorial and participatory activities. Combining fruitfully sociology, anthropology, urban studies, and visual studies, this investigation contributes to the methodological and theoretical development of visual ethnography. Relying on non-indexical photographic practices, the present dissertation details the multiple definition of visual experiences in urban settings. It delves into the dynamics of creation, exchange, publicization, and accomplishment of visual materials in the field. This manuscript is structured into five chapters. The first one presents the visual economy of photographic materials on an urban scale. It reveals the existing photographic materials on Sarcelles and examines the institutional and artistic strategies locally deployed since years which have functioned at defining the imaged community. The second one analyzes the ecology of visual interactions on a local scale based on a series of civic resistances which took place in the digital spaces. The third one explores the relationship between spatial experience and photography based on immersive, sensory, and non-representational visual practices. The fourth chapter explores how urban space is seen and experienced by the inhabitants of Sarcelles through visual participatory methods. This last chapter raises theoretical and methodological awareness on power relationships in the field and reflexively reconsiders the photographic activity putting at the front line the relations between race, class, and gender. Finally, the fifth chapter describes the different degrees of publicization of the photo-ethnographic accounts by analyzing how these last ones accomplish by thoroughly explaining how these productions are made and published. In particular, I explore the social construction of Sarcelles in photojournalism based on the visual and media definition of the imaged community in this professional environment. In sum, this dissertation contributes to the development of visual anthropology and visual sociology. Based on the photographic engagement in the field, it advocates for a phenomenological, pragmatic, and critical approach of visual ethnography
MANCA, GAVINA. "Fattori di sviluppo e dinamiche identitarie nel Mediterraneo: il caso dell'arcipelago maltese". Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/183.
Texto completoThis thesis is focused on two aspects: 1) the politics of development in the Mediterranean area, 2) the crucial role played by identity. The theoretical part is followed by a case study in the Malta archipelago, where we studied the development processes along with the identity dynamics through a multimethod approach.
MANCA, GAVINA. "Fattori di sviluppo e dinamiche identitarie nel Mediterraneo: il caso dell'arcipelago maltese". Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/183.
Texto completoThis thesis is focused on two aspects: 1) the politics of development in the Mediterranean area, 2) the crucial role played by identity. The theoretical part is followed by a case study in the Malta archipelago, where we studied the development processes along with the identity dynamics through a multimethod approach.
Major, Mary Elizabeth. "War's Visual Discourse| A Content Analysis of Iraq War Imagery". Thesis, Portland State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1535957.
Texto completoThis study reports the findings of a systematic visual content analysis of 356 randomly sampled images published about the Iraq War in Time, Newsweek, and U.S. News and World Report from 2003-2009. In comparison to a 1995 Gulf War study, published images in all three newsmagazines continued to be U.S.-centric, with the highest content frequencies reflected in the categories U.S. troops on combat patrol, Iraqi civilians, and U.S. political leaders respectively. These content categories do not resemble the results of the Gulf War study in which armaments garnered the largest share of the images with 23%.
This study concludes that embedding photojournalists, in addition to media economics, governance, and the media-organizational culture, restricted an accurate representation of the Iraq War and its consequences. Embedding allowed more access to both troops and civilians than the journalistic pool system of the Gulf War, which stationed the majority of journalists in Saudi Arabia and allowed only a few journalists into Iraq with the understanding they would share information. However, the perceived opportunity by journalists to more thoroughly cover the war through the policy of embedding was not realized to the extent they had hoped for. The embed protocols acted more as an indirect form of censorship.
Camur, Aysel. "Charity Programmes: Representations Of Poverty In Turkish Television". Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/2/12605061/index.pdf.
Texto completoobjects of aid&rdquo
given by &ldquo
philanthropists&rdquo
is examined and it is argued that the poor become a means of salvation, self-realisation and self-fulfilment of &ldquo
philanthropist&rdquo
. It is here claimed that Islam and nationalist-conservative discourse serve the internalisation and tranquillisation of poverty in the programmes. The study also analyses the visual and aural representations of the poor in the programmes. The slow-motion, black and white photographs, close-up, limited motion, and the music accompanying the pictures are the most fundamental tools of dramatising poverty in the charity programmes
and they address to &ldquo
conscience&rdquo
of &ldquo
philanthropists&rdquo
. It is also argued that voiceover and subtitling efface the voice of the poor.
Murray, Teisha. "“Comin From Where I’m From:” Exploring Inner-City Youth’s Perception of Their Neighborhood". University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305644738.
Texto completoAllen, Rika. "The anthropology of art and the art of anthropology : a complex relationship". Thesis, Stellenbosch : University of Stellenbosch, 2008. http://hdl.handle.net/10019.1/2304.
Texto completoIt has been said that anthropology operates in “liminal spaces” which can be defined as “spaces between disciplines”. This study will explore the space where the fields of art and anthropology meet in order to discover the epistemological and representational challenges that arise from this encounter. The common ground on which art and anthropology engage can be defined in terms of their observational and knowledge producing practices. Both art and anthropology rely on observational skills and varying forms of visual literacy to collect and represent data. Anthropologists represent their data mostly in written form by means of ethnographic accounts, and artists represent their findings by means of imaginative artistic mediums such as painting, sculpture, filmmaking and music. Following the so-called ‘ethnographic turn’, contemporary artists have adopted an ‘anthropological’ gaze, including methodologies, such as fieldwork, in their appropriation of other cultures. Anthropologists, on the other hand, in the wake of the ‘writing culture’ critique of the 1980s, are starting to explore new forms of visual research and representational practices that go beyond written texts.
Correia, Maria da Luz. "Intermitências na cultura visual contemporânea : o postal ilustrado e a imagem recreativa". Phd thesis, Université René Descartes - Paris V, 2013. http://tel.archives-ouvertes.fr/tel-00932174.
Texto completoCorreia, Maria da Luz. "Intermitências na cultura visual contemporânea: o postal ilustrado e a imagem recreativa". Doctoral thesis, Université René Descartes - Paris V, 2013. http://hdl.handle.net/1822/29216.
Texto completoCompreendendo a cultura visual contemporânea como resultante do jogo vivido entre as condições socioeconómicas, os avanços tecnológicos e as operações artísticas ao longo dos últimos dois séculos, perguntamo-nos: Quais as relações entre a imagem, a palavra e o real daí decorrentes? Quais as ligações entre os diferentes dispositivos do atual contexto mediático? Como caraterizar a interação entre as operações artísticas, o comércio social de imagens e os valores fundadores da instituição estética (arte/não arte, high/low, autor/espetador, original/cópia...)? Esta problemática encontra uma direção mais precisa na análise das imagens e dos usos do postal ilustrado ao longo das três primeiras décadas do séc. XX e dos anos 80, 90 e 2000 e ainda na recoleção das apropriações artísticas deste média, inseparável do advento da fotografia e da instalação de uma rede postal de comunicação mundial. Consideramos que, embora o arquivo científico em torno da iconografia coletiva se torne progressivamente extenso, nomeadamente com a afirmação de domínios epistemológicos que vão da sociologia do imaginário aos visual cultural studies, para apenas citar dois recentes exemplos, este não dispensa e pelo contrário torna premente uma persistente revisão da teoria da imagem, que tenha em conta diferentes aspetos do processo de tecnologização da mesma, iniciado no séc. XIX com a fotografia e o cinema, e que prossegue hoje com as realidades digitais e os ambientes virtuais da Web 2.0.... A revisão deste trajeto é elaborada no nosso estudo a partir das ideias de recreação e de remediação. A imagem recreativa corresponde a uma conceção paradoxal da imagem e da técnica enquanto entidades que seriam, por um lado, vocacionadas para “uma sensibilidade puxada à manivela”, retomando a expressiva fórmula de Moisés de Lemos Martins (2011), através de formas de alienação e de automatização, e por outro lado, favoráveis ao exercício da experiência e à afirmação da condição histórica, através de táticas de reinvenção, de rearranjo e de conserto. A noção de remediação, terminologia sugerida por Bolter & Grusin (2000) pressupõe um entendimento do complexo mediático contemporâneo enquanto um todo interdependente, unido por relações de colaboração e de hibridação não cronológicas, que entra em rutura com o linear esquema sequencial que distingue novos e velhos média. Uma cultura atravessada por táticas de recreação e de remediação é ainda, como o entreviu o visionário pensamento de Walter Benjamin (1991, 1992), uma cultura onde se instabilizaram as fronteiras entre as posições de autor e de espetador, os estatutos de original e de cópia, de high e de low, categorias artificiais de caráter normativo que se destinariam a legitimar o discurso da instituição estética, mas que se manteriam ausentes no âmbito da nossa travessia espontânea e quotidiana de polimórficas atmosferas visuais e que seriam, de resto, alvo das mais heterogéneas derisões artísticas, paradoxalmente hoje assimiladas por essa mesma instituição estética. O postal ilustrado, outrora protagonista das exposições universais, hoje omnipresente nos grandes centros policulturais de arte moderna e contemporânea – nas suas lojas, nas suas salas e nos seus espaços de ócio, como cafetarias, bares e restaurantes – insere-se na nossa problemática de modo especialmente pertinente: objeto entre a arte e o comércio, com imagens e palavras, veículo da fotografia e parente próximo do cinema, o postal presta-se tanto à exploração de uma estereotipia dos afetos como se oferece às artimanhas, aos truques e às montagens dos seus usuários. Não obstante o mal-estar generalizado que paira sobre as ideias de cultura, de imagem e de arte desde o início do séc. XX com a crítica às indústrias culturais até à atualidade com os ataques à sociedade do espetáculo de Guy Debord e à sociedade do simulacro de Jean Baudrillard, propomo-nos seguir a simples mas trabalhosa máxima proposta por Michel Maffesoli (1998) de “dire oui à la vie”, mapeando os intervalos de ação, os fragmentos de experiência e os pedaços de história coletados pelos mais conhecidos e mais anónimos, pelos mais excepcionais e pelos mais banais recreadores da imagem e refazedores do real.
La culture visuelle contemporaine ne peut pas être comprise sans avoir à l’esprit l’enjeu entre les conditions socio-économiques, les avancées technologiques et les opérations artistiques au cours des deux derniers siècles. C’est en considérant cet enjeu, qu’on s’interroge: Quels sont les rapports entre l'image technique, la parole et le réel? Quels sont les liens entre les différents dispositifs qui composent l’ensemble médiatique actuel? Comment peut-on décrire l'interaction entre les opérations de l’art, le commerce social des images et les valeurs fondatrices de l’institution esthétique (art / pas de l'art, haut / bas, auteur / récepteur, original / copie ...)? Ce questionnement prend une direction plus précise, par le biais de l’étude des images et des usages de la carte postale illustrée au cours des trois premières décennies du XXème siècle et des années 80, 90 et 2000. Concomitante à l'avènement de la photographie et à l’émergence d'un réseau postal de communication mondiale, la carte postale illustrée sera également analysée à partir d’une recollection de ses appropriations artistiques. Malgré l’étendue de l’archive scientifique dédiée à l'iconographie collective, notamment concernant des champs épistémologiques tels que la sociologie de l'imaginaire et les visual cultural studies, pour ne citer que deux exemples récents, il est à notre avis fort nécessaire de relire la théorie de l'image, tout en tenant compte des différents aspects du processus d’appareillement technique de l’image, qui s’ébauche au cours du siècle. XIX avec la photographie et le cinéma, et qui se poursuit aujourd'hui avec les réalités virtuelles et les ambiances numériques de la Web 2.0 ... La présente étude considère ce trajet à partir de deux notions fondamentales : l’idée de récréation et la conception de remédiation. L'image récréative traduit la reconnaissance de la nature paradoxale de l’image et de la technique : celles-ci seraient, d’une part, des entités douées d’”une sensibilité tirée à la manivelle” (Moisés Martins Lemos , 2011), qui se manifesterait sous les formes de l'aliénation et de l'automatisation ; d'autre part, l’image et la technique, une fois appropriées par des tactiques de réinvention, de recomposition et de réparation, deviendraient des instances favorables à l'expérience et à l'affirmation de notre condition historique. À son tour, la notion de remédiation, terminologie suggérée par Bolter et Grusin (2000), présuppose une affirmation de l’interdépendance des medias contemporains ; ceux-ci seraient un ensemble solidaire uni par des liens de collaboration non chronologiques, contraires au schéma séquentiel qui oppose les nouveaux aux vieux médias. Une culture traversée par la récréation et la remédiation est également, comme l’a constaté l’oeuvre visionnaire de Walter Benjamin (1991, 1992), une culture où se troublent les frontières entre les statuts de l'auteur et du récepteur, de l’originel et de la copie, de l’high et du low, statuts normatifs artificiels destinés à légitimer le discours de l'institution esthétique. Absentes de notre traversée quotidienne et spontanée de la polymorphie des ambiances visuelles, les dichotomies mentionnées seraient l’objet de nombreuses dérisions artistiques, aujourd'hui paradoxalement assimilées par l’institution esthétique. La carte postale, autrefois protagoniste des grandes expositions universelles, et aujourd'hui omniprésente dans les espaces polyculturelles de l'art moderne et contemporain - dans leurs magasins, leurs salles d’exposition et leurs aires de loisir tels que les cafés, bars et restaurants -, revêt un intérêt particulier pour l’approfondissement de ce débat: objet entre l’art et le commerce, avec des images et des mots, vecteur de diffusion de la photographie et proche du cinéma, la carte postale illustrée se prête tantôt à l'exploration d'une stéréotypie d’affects tantôt à la concertation d’astuces et de ruses, à l’expérimentation de truquages et de montages de la part de ses utilisateurs. Nonobstant le malaise général qui pèse sur les idées de culture, d'art et d'image, depuis le début du XXème siècle avec les critiques qui visaient les industries culturelles, jusqu’à nos jours avec les attaques contre la société du spectacle de Guy Debord (2006) et la société du simulacre de Jean Baudrillard (1988), nous acceptons de suivre la maxime simple mais laborieuse proposée par Michel Maffesoli (1998) de “dire oui à la vie", en cartographiant les intervalles d'action, les fragments d'expérience et les morceaux d'histoire collectés par les plus connus et les plus anonymes, les plus rares et les plus banaux recréateurs de l’image et refaiseurs du réel.
Understanding contemporary visual culture as a result of the game between socio-economic conditions, technological advances and artistic operations over the past two centuries, we ask ourselves: What are the relationships between image, word and the reality? What are the connections between different devices of the current media context? and the interaction between operations artistic, images’ social commerce and the founding values of the aesthetic institution (art / non art, high / low, author / viewer, original / copy ...)? This broad issue finds a more accurate direction in the analysis of images and uses of the postcard over the first three decades of the century XX and 80, 90 and 2000 and also in the recollection of this artistic media appropriation, inseparable from the advent of photography and installation of a network of world postal communication. We believe that, although the scientific archive about the collective iconography progressively becomes more extensive, particularly with the affirmation of epistemological fields ranging from sociology of the imaginary to the visual cultural studies, just to mention two recent examples, this does not make it unnecessary, on the contrary, it makes it urgent to persistently review the theory of the image, which takes into account different aspects of the same technologization process, started in the century XIX with photography and film, and which continues today with the realities of digital and virtual environments web 2.0 ... The review of this path is drawn in our study with the support of the notions of recreation and remediation. The recreational image corresponds to a paradoxical conception of image and technique as entities that would be, on the one hand, aimed at "a sensitivity pulled by the crank," retaking the expressive formula of Moisés de Lemos Martins (2011), through forms of alienation and automation and, on the other hand, the favourable to the exercise of experience and the affirmation of the historical condition, through reinvention, rearrangement and repair tactics. The notion of remediation, terminology suggested by Bolter & Grusin (2000), requires an understanding of the complex contemporary media as an interdependent whole, united by non-chronological relationships of collaboration and hybridization, which rupture with the linear sequential scheme that distinguishes new and old media. A culture crossed by recreation and remediation tactics is also, as the visionary thought of Walter Benjamin (1991, 1992) glimpsed, a culture where the boundaries between the positions of author and viewer, the status of original and copy and high and low have been weakened, artificial normative categories that were intended to legitimize the discourse of aesthetic institution, but which would remain absent within our daily and spontaneous route of polymorphic visual atmospheres and would be, moreover, object of the most heterogeneous artistic derisions, paradoxically today assimilated by that aesthetics institution. The picture postcard, once the protagonist of universal expositions, today ubiquitous in major policultural centres of modern and contemporary art - in its stores, in their classrooms and in their leisure spaces, such as coffee shops, bars and restaurants - fits our problem in a very particular way: object between art and commerce, with pictures and words, photography vehicle, close relative of cinema, the postal lends itself both to the exploration of a stereotypy of affects and it also offers to tricks, the tricks and the assemblies of its users. Nevertheless the general malaise that hangs over the ideas of culture, art and picture from the beginning of the XX century with the critic to the cultural industries up to the present day with the attacks to the society of the spectacle of Guy Debord and the society of the simulacrum of Jean Baudrillard, we propose the following simple and laborious maximum suggested by Michel Maffesoli (1998), "dire oui à la vie", mapping the intervals of action, the fragments of experience and the pieces of history collected by the best known and most anonymous, for the most exceptional and the most banal recreators of the image and the remakers of the real.
Fundação para a Ciência e a Tecnologia (FCT)
Programa Operacional Potencial Humano (POPH)
Quadro de Referência Estratégico Nacional (QREN)
Van, Zyl Marelize. "Constructing the value of art : a sociological perspective on value creation at South African art auctions". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20053.
Texto completoENGLISH ABSTRACT: The value of art is a critical concept in theoretical discourse. As a result, the high prices of artworks on auctions pose questions about the various processes of value construction and the status of art in these processes. This thesis adopts a sociological approach to the construction of value of art on South African auctions. This approach is situated within a socio-historical perspective, which introduces the various social structures and conditions of cultural production. The main premise of this approach is that a multiplicity of social and cultural influences permeates the art market, its processes and structures, and therefore the determination of value. This research therefore indicates that the value of art on auction is socially constructed. As such, the value of an artwork does not reside in itself, but is produced (and constantly reproduced) through processes that are subject to the codes and conventions of the art world. Within the context of the art market, artworks function as commodities for economic exchange. Since economic exchange is socially and culturally situated, the distinctive ways in which art auctions in South Africa (as a market intermediary) encompass certain social and cultural processes, is also explored. To asses the various factors that influence the value and exchange of artworks on auction, the study introduces the Components of Value Model. The Aesthetic and Historical Factors; the Supporting Documentation and Material Attributes of an artwork, as well as the Financial and Economic Factors collectively indicate that values are, first and foremost, social categories. The value of art on auction is therefore a socially constructed value.
AFRIKAANSE OPSOMMING: Die waarde van kuns is ‘n kritiese konesep in teoretiese gesprekvoering. Na aanleiding van die hoë pryse wat kunswerke op Suid-Afrikaanse veilings behaal, word verskeie vrae gevolglik gestel rondom die verskillende prosesse van waarde samestelling en die status van kuns in hierdie prosesse. Hierdie verhandeling neem ‘n sosiologiese benadering aan tot die samestelling van die waarde van kuns op veilings. Dié benadering is gesetel binne ‘n sosio-historiese perspektief wat verskeie sosiale strukture en voorwaardes van kulturele-produksie inlei. Die hoof premis van hierdie benadering is dat ‘n aantal sosiale en kulturele invloede die kunsmark se prosesse en trukture deurweek, en gevolglik ook die bepaling van waarde. Hierdie navorsing kom dus tot die gevolgtrekking dat die waarde van kuns op veilings sosiaal geskep word. Gevolglik is die waarde van kuns nie intrinsiek nie, maar word geproduseer (en aanhoudend geherproduseer) deur prosesse wat onderhewig is aan die kodes en konvensies van die kunswêreld. Binne die konteks van die kunsmark, funksioneer kunswerke bloot as kommoditeite vir ekonomiese verhandeling. Omdat ekonomiese vehandeling sosiaal en kultureel gesetel is, word die eiesoortige wyse van hoe kunsveilings (as ‘n marktussenganger) sekere sosiale en kulturele prosesse omvat, ook ondersoek. Om die veskeie faktore wat die waarde van kunswerke op veilings beïnvloed te ondersoek, word die ‘Komponente van Waarde Model’ ingebring. Gevolglik dui die Esteties- en Historiese Faktore; Ondersteunende Dokumentasie en Materiële Eienskappe van kunswerke asook die Finansiële en Ekonomiese Faktore gesamantlik aan dat waardes hoofsaaklik sosiale kategorieë is. Die waarde van kuns op veiling is gevolglik sosiaal gekonstrueer.
Krainitzki, Eva. "Exploring the hypervisibility paradox : older lesbians in contemporary mainstream cinema (1995-2009)". Thesis, University of Gloucestershire, 2011. http://eprints.glos.ac.uk/918/.
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