Thèses : « Folk art, middle east »

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Archer, Amanda. « The folk arts of Oaxaca : integrating the pre-Columbian roots of the traditional folk arts of Oaxaca, Mexico into the middle school art curriculum ». [Denver, Colo.] : Regis University, 2008. http://165.236.235.140/lib/AArcherPartI2008.pdf.

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Thomas, Jenna Caye. « Visions of the East : Influence of the Levant on the Italian Renaissance ». Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1448533555.

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Graves, Margaret Susanna. « Worlds writ small : four studies on miniature architectural forms in the medieval Middle East ». Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5489.

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While academic discussion of ornament within medieval Islamic art has laboured much over the codification and meaning of certain forms, there has been relatively little research to date on the visual and iconographic function of architecture as ornament in this context. Those few authors that have dealt with this issue have focused overwhelmingly on two-dimensional architectural representations, largely ignoring the considerable body of portable objects from the medieval Middle East that imitate architecture through three-dimensional forms, whether in a mimetically coherent fashion or in a more elliptical or reconfigured manner. This thesis proposes, first and foremost, that there is significant cultural meaning inherent in the use of architecture as an inspiration for the non-essential formal qualities of portable objects from the medieval Islamic world. Through iconographic analysis of the relationships that such objects form with architecture, an understanding of both full-size architecture and its miniature incarnations in the medieval urban context is advanced within the thesis. To maximise the intellectual scope of the study whilst still enabling an in-depth treatment of the material, four discrete studies of different object groups are presented. All of these are thought to date from approximately 1000 to 1350 CE, and to come from the core Middle Eastern territories of Persia, Syria and Egypt. The first chapter examines the glazed ceramic ‘house models’ believed to originate in late or post-Seljuq Persia. The second discusses six-sided ceramic tables from the same milieu, and more numerous related tables produced in Syria during the same period. In the third chapter carved marble jar stands from Cairo, apparently produced from the twelfth century onwards, are analysed. The final chapter, on metalwork, broadens its approach to encompass two very different strains of production: inkwells from Khurasan and incense burners from the breadth of the Middle East. Because much of the thesis focuses on material that has been dramatically understudied, it performs the primary action of compiling examples of each of the object types under study. Though this information is presented as a catalogue vi sommaire, this component of the thesis is not regarded as an end in itself. The major tasks of the thesis are the identification of the architectural tropes that are being evoked within each object group, analysis of the manner in which those forms have been modified to suit the miniature context of the objects, and the location of meaning within such diminutive evocations of architectural form. Through comparisons with other objects, full-size architecture, two-dimensional representations of architecture and historical texts, the thesis moves discourse on this type of motif in Islamic art beyond the traditional and sometimes superficial discussion of ‘ornament’, re-setting architectural iconography within larger contexts of urbanisation and city culture of the medieval Islamic world.

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Lic, Agnieszka. « Christian stucco decoration in southern Mesopotamia and the Persian Gulf region, sixth to ninth centuries ». Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:23636a63-9682-4a2a-b27b-49f2f3df59ac.

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Christian archaeology and art of the region under the jurisdiction of the Church of the East in the Late Antique and early Islamic period is an underresearched field of studies, which exists in between more developed disciplines such as Byzantine and Syriac studies as well as Early Christian, Sasanian and Islamic archaeology and art history. However, archaeological excavations of the last century, especially in southern Mesopotamia and the Persian Gulf region, now allow research to be conducted on the most important medium of artistic expression of the region - stucco. Considered from the technological, stylistic and iconographic point of view and within the aforementioned cultural contexts, it reveals that the Christian stucco production of the region was shaped by Sasanian traditions and contemporary Byzantine and Islamic influences, but also that it developed an innovative and highly creative vocabulary of forms and motifs. It was especially among the Gulf communities of Sir Bani Yas, al-Qusur and other sites that this transformative approach towards traditional and contemporary artistic models manifested itself within a short period between the late seventh and the early ninth centuries. Slightly more conservative is the character of Christian art of southern Mesopotamia in the eighth and early ninth centuries. An interesting exception is a relief found at a church in Koke in the region of Seleucia-Ctesiphon, in which the Sasanian technique of deep relief is combined with the Byzantine dress of the person represented. This fusion of culturally divergent elements testifies to the double identity of the Christians living under the Sasanians - and later, in the early Islamic caliphate - who were recognized as a part of society but distinctive for their religion.

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Hosseinioun, Mishana. « The globalisation of universal human rights and the Middle East ». Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:8f6bdf79-2512-4f32-840a-3565a096ae8d.

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The goal of this study is to generate a more holistic picture of the diffusion and assimilation of universal human rights norms in diverse cultural and political settings such as the Middle East and North Africa (MENA). The overarching question to be investigated in this thesis is the relationship between the evolving international human rights regime and the emerging human rights normative and legal culture in the Middle East. This question will be investigated in detail with reference to regional human rights schemes such as the Arab Charter of Human Rights, as well as local human rights developments in three Middle Eastern states, Egypt, the United Arab Emirates, and the Islamic Republic of Iran. Having gauged the take-up of human rights norms on the ground at the local and regional levels, the thesis examines in full the extent of socialisation and internalisation of human rights norms across the Middle East region at large.

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Ghiabi, Maziyar. « Drugs, addiction and the state in Iran : the art of managing disorder ». Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:c2cbaeb6-502b-4383-b975-2812602f1efa.

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This thesis explores the politics of drugs and addiction in Iran in light of processes of state formation. The case of Iran provides a paradigm of what has come to be known as the 'War on Drugs' in a political and cultural setting that has been characterised, by most of the area studies literature, by other investigations and scholarly questions. Iran, nevertheless, represents an outstanding case for the study of the War on Drugs; it is at the geopolitical crossroads of international drug routes, it has one of the world highest rates of drug 'addiction' - estimated at between 2-3% and 6-7% of the entire population - and it has progressively seen the rise of synthetic, industrial drugs, such as methamphetamines (shisheh). The thesis situates the phenomenon of drug use in the social and political history of Iran with a particular attention to the transformations taking place after the Islamic Revolution in 1979. It provides a genealogical map of policy experimentations in the field of drugs, while it also casts light on the rationale that governs the formation and transformation of state practices vis à vis drugs, especially during the reformist and post-reformist period (1997-2013). To do so, the research combines extensive archival research using Persian sources (newspapers, reports, films, memoires, etc.) starting from the early 1900s, with ethnographic fieldwork in public clinics, rehab centres, drug using hotspots and, more generally, the street. The outcome is an in-depth engagement with narcotic politics, which unearths unstudied dynamics of Iran's contemporary politics and society. Instead of moralising approaches, what is unveiled is a state that adopts both rhetoric and practice that are secularised and in tune with Western models of policymaking. Eventually, the thesis reveals how the image of the Iranian state has not only been misplaced, but it has also been a myth.

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Badawi, H. « The potential for installations to create new directions for Saudi Arabian art ». Thesis, Coventry University, 2011. http://curve.coventry.ac.uk/open/items/0fcc12b6-5baf-4892-a1d2-f06776a58cc5/1.

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In 2001 when this research commenced, there was little understanding in Saudi Arabia of the opportunities digital art could provide for artists, how it could be integrated with or used instead of painting, and the effects the enlarged vocabulary could have in communicating difficult social issues. As a result, this study aimed at filling a gap in knowledge through reviewing contemporary Saudi art. This, in turn, helped me to understand the position of my practice. The study also aimed at developing a means of expression in which traditional art can be combined with digital media and showing how this combination provides a new direction for Saudi art by raising awareness in Saudi Arabia about complex issues. In addition, the study aimed at determining the acceptability of this new form of art to artistically literate Saudi artists through gathering audience’s reactions to the developed artefacts. This study comprised of several stages: discovering the state of art in Saudi Arabia and where it fits into the global stage; documenting my journey as an artist and understanding my practice; the creation of the installation and its reception, all of which was documented in a reflective journal. Through reflecting on my practice, I transformed my work from simple traditional pieces of art to more complex installations concerning everyday gender politics. I interviewed 20 practicing artists, noting that the majority of their work used traditional forms of art rather than digital art. A week-long exhibition on gender differences in Saudi Arabia was held in Jeddah, Saudi Arabia. The feedback from the exhibition showed that, although there is not a strong appreciation of digital art in Saudi Arabia, the audience was able to understand the different components of the installations and the underlying issues being portrayed. They were able to bring their own experiences to the situation and reflected on the installations accordingly. The study contributes to knowledge by providing a review of contemporary Saudi Artists as there is no significant literature that documents this in Saudi Arabia. It also contributes to knowledge by exploring and developing artefacts that incorporate different technologies and by showing that digital media and traditional art can be used together to articulate complex social issues arising in everyday Saudi life. Finally, it fills a gap in knowledge of how Saudi audiences engage with works that use a combination of traditional and new art to express such issues.

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Miller, Aimee H. « Goddesses of Color : Interfaith Altars ». Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/773.

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This paper explores the intertwined history of certain goddesses of the Middle East and the Americas. This history informs the original invented contemporary deities that my project centers around. Using recycled materials and collected objects, my project displays two religious altars, one from my heritage and one from my experience living in Brazil. One altar is based on afro-Brazilian sea goddesses, and one is a contemporary imagined interpretation of a Judeo-Christian female figure. The two altars together compose an installation that seeks to unify a pagan practice and two distinct monotheistic traditions while still honoring their separate parts. These parts is built in the studio.

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Cornet, Catherine. « In Search of an Arab Renaissance : artists, Patrons and Power in Egypt and the Middle East (2001-2013) ». Paris, EHESS, 2016. http://www.theses.fr/2016EHES0091.

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Le paradigme de la Nahda, ou Renaissance arabe est un puissant zeitgeist qui revient cycliquement dans la pensée et le monde culturel du Moyen-Orient depuis la fin du 19eme siècle. Cette thèse questionne les raisons du retour du paradigme dans les années 2000 (et en particulier entre 2001 et 2005) en Egypte et dans les Emirats (Doha et Sharjah) en observant les rapports de force entre différentes sphères artistiques et les structures de mécénat. Elle interroge la raison d'être de cette quête pour une Renaissance culturelle, les enjeux liées au mécénat, l'exploitation politique du culturel et en particulier les questions d'authenticité, de culture nationale et globale, musulmane ou séculière, d'indépendance et enfin, de liberté artistique. L'étude du paradigme passe à travers la comparaison des discours et des oeuvres des 'artistes d'états' soutenus par le pouvoir de Moubarak, des artistes commerciaux, qui derrière Adel Imam, sont les fers de lance du pouvoir séculier contre les islamistes égyptiens; et des artistes arabes et internationaux qui à Doha ou Sharjah gravitent autour du riche mécénat des Emirats. En opposition à l'état, plusieurs sphères sont étudiées: celle des artistes 'indépendants' mais soutenus par les fondations privées ainsi que la sphère des artistes musulmans qui proposent un fan al hadif, ou 'art modeste'. La sphère des artistes digitaux enfin, autonomes par rapport aux réseaux de mécénat, permet de confirmer l'existence d'une réelle Renaissance culturelle digitale soutenue par l'explosion des réseaux sociaux, une décennie avant les révolutions arabes. En questionnant la position des artistes vis à vis de leurs mécènes et par rapport au pouvoir, cette thèse souligne l'importance du discours culturel et artistique pour la sphère publique et ses répercussions sur les enjeux de citoyenneté
The Nahda, or "Arab Renaissance" is a powerful returning paradigm in Egypt and the Middle East cultural field since the end of the 19th century. The aim of this dissertation is to assess, through the study of the new paradigm, the autonomy of the arts in Egypt and the Middle East and their relation to power and to interrogate the role of art in identity definition and in the "dialogue" with Islam after 9/11 - and especially after foreign actors have greatly re-shuffled the power relationship. The first case study focuses on "state artists" in Egypt and studies the passage from the Tahtqif, or "culturisation" of Egyptians in the name of Enlightenment and the gradually undermining of state monopoly over identity politics. The second chapter is dedicated to Arab artists and their Gulf patrons: the agency of the "invisible hand" of the global artistic market is discussed, through two case studies in Doha and Sharjah. The third chapter assesses the state narrative against Islamists in Egypt through the figure of comedy actor Adel Imam. The second part is dedicated to the artists in opposition to the state. Chapter I reviews the agency of the artistic sphere in total opposition with the state, with the study of a group of young Muslim filmmakers who intented to contribute to a fann al hadif or "purposeful art". The two following chapters review the works of the "independent scene" that saw the light after the arrival arrival en masse of foreign funding in 2001, while the last case studies centred on Digital artists venture into giving the first hints of a conclusion about a Digital Renaissance that took place after after 2004, and of the adoption of social networks in Egypt. The importance of the arts in the political discourse, its agency in the process of secularization, nationalist debates or international relations in the time of globalisation, is barely mentioned in political science. This dissertation is intended to corroborate the claim that there is much to learn from the art spectrum and from its agency on societal changes and power struggles

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Huxley, Margaret. « The signs of the zodiac in the art of the Near and Middle East up to and including the earlier Islamic period ». Thesis, SOAS, University of London, 1985. http://eprints.soas.ac.uk/29029/.

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The scientific importance of the zodiac to the astronomers and astrologers of antiquity can be gauged from Babylonian cuneiform sources and Greek and Latin technical treatises. Less accessible is the history of the signs, and their meanings and allusions in extant works of art, as on these subjects the ancients themselves were ambivalent. This study, by an analysis of the iconographic evidence, seeks to uncover the origins of the twelve images that make up the zodiac cycle and to trace something of their subsequent history in the Graeco-Roman world and the Middle East, up to the earlier Islamic period. On the pictorial evidence of the seals, boundary stones, and other works of art, the thesis will contend, despite a few dissenting voices, that priority in the recognition of the zodiac, and the development of its characteristic images belongs to Mesopotamian civilization. Several of the constellation figures had already been identified by the early second millennium B.C., and the remainder are attested before the beginning of the first millennium. The fully-formed zodiac was in use in Mesopotamia by c. 500 B.C. and was diffused from that area. Literary evidence establishes that the zodiacal constellations were known in the Greek world before the time of Alexander, though following his visit to Babylon the popularity of the topic was greatly enhanced. Thus, in the Hellenistic period the zodiac was adopted into the iconography of kingship, a role that it maintained in the courts of Imperial Rome. An extensive investigation of the zodiac's assimilation into the religious iconography of the Roman empire is undertaken, especially in those cults where the deity was identified with a celestial body, or linked with the abstract concept of Time, for example, of Mithras, Sarapis, Artemis and Aion. The large number of extant zodiac monuments indicates its importance as an icon, while minor variations between one cycle and another suggest changing nuances of meaning in different contexts. The zodiac's power over human destiny was a concept so well-entrenched in popular imagination that the rise of the great monotheistic religions, Judaeism, Christianity and Islam, may have changed its status but hardly diminished its prevalence. In Levantine synagogues, and even in the Qur'an itself, the constellations and planets, though no longer deities in their own right, were still regarded as legitimate powers under God. Sasanian imperial iconography also employed the zodiac, a fact which probably had an effect on the symbols of kingship in Islam, and influenced the choice of iconography of at least one Umayyad prince. The sustained link between the zodiac and royalty is one important theme that has emerged from this study. A second is that the zodiac, though composed of twelve standard signs, could be varied in small ways to express religious or astrological doctrines, and that these variations can sometimes provide information about the monument or its background. Though little discussed by classical archaeologists, the zodiac has a more important part in Roman art than is generally admitted. Over a very long period of time the zodiac proved to be a remarkably versatile symbol. Its imagery represented an important scientific innovation whose evolution in the Middle East is demonstrated by the iconographic evidence, here comprehensively assembled for the first time. Afterwards, the zodiac was universally accepted, both in European and Oriental civilizations.

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Montgomerie, Elizabeth Amber. « Images of rural activities on mosaic pavements in Late Antiquity in the Levant ». Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:06c62da9-7dcf-4b34-96ec-3d5ea425e2cb.

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Images of rural activities become very popular in mosaic floor decoration in the Levant during the Late Antique period. I aim to explore different categories of iconography and discuss the images of people engaged in rural activities, such as pastoralism; hunting, fishing and activities connected with the vintage. I also aim to look at imagery that is often discussed in isolation without relation to other connected iconographic categories. The symbolic meaning of the representations of the zodiac found in synagogues, for example, is often discussed in detail without also looking at the rural calendars that appear in Christian contexts during the same period in the same region. I also want to explore the archaeological evidence for the activities that appear on the mosaic pavements. Studying both the archaeology and the iconography will, I hope, help us understand what the use of these particular categories of iconography in decorative schemes can tell us about the society that created them.

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Wood, Rachel K. L. « After the Achaemenids : exchange, transmission and transformation in the visual culture of Babylonia, Iran and Bactria c.330-c.100 BC ». Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:0fc15b6c-0436-4d17-81d3-31f69b77313e.

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This thesis examines the art of Babylonia, Iran and Bactria after the Macedonian conquest, from c.330 to c.100 BC, in light of current developments in archaeological theory of cultural interaction. In order to illustrate the character and scale of these interactions, the thesis presents a discussion of iconographic material ranging from architectural ornament and sculpture to minor arts. Chapters II-IV discuss the material from each site, highlighting regional characteristics and differences between media. Chapters V-VII use three cross-sections to examine cultural interaction visible in material used for different social functions (‘spheres’). The ‘sphere of gods’ discusses religious architectural ornament and iconography, and the implications for our interpretation of cult in Babylonia, Iran and Bactria in this period. The ‘sphere of kings’ considers ruler representation and the physical appearance of ‘royal space’ while the ‘sphere of citizens and subjects’ discusses material made and used by the wider populace. Macedonian rule and the influx of settlers to Babylonia, Iran and Bactria developed networks of exchange, transmission and transformation creating ‘visually multi-lingual’ societies. The adoption of new artistic influences did not replace all existing traditions or necessarily infringe ethnic identities. There was selective adoption and adaptation of iconography, styles and forms to suit the new patrons and contexts. This cultural co-existence included some combinations of features from different artistic traditions into individual compositions, emphasising how visual languages were not closed-off, rigidly defined or static. Patrons were not confined to using the visual language associated with their ethnicity or current location. There was flexibility of use and meaning, which may present a useful model in the study of other areas of cultural interaction in the Hellenistic period.

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Haghani, Fakhri. « The "New Woman" on the Stage : The Making of a Gendered Public Sphere in Interwar Iran and Egypt ». Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/history_diss/19.

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During the interwar period in Iran and Egypt, local and regional manifestation of tajadod/al-jidida (modernity) as a “cultural identity crisis” created the nationalist image and practice of zan-e emrouzi-e shahri/al-mar’a al-jidida al-madani (the urban/secular “New Woman”). The dynamics of the process involved performance art, including the covert medium of journalism and the overt world of the performing arts of music, play, and cinema. The image of the “New Woman” as asl/al-asala (cultural authenticity) connected sonnat/al-sunna (tradition) with the global trends of modernism, linking pre-nineteenth century popular forms of performing arts to new genres, forms, and social experiences of the space of the performing arts. The subversive transnational character of performance art operated across borders to promote both the discourse of modern womanhood in-the-making among intellectuals, and the public practice of women’s presence among the masses. However, the trans-border effects of the medium were limited by local cultural and political ideologies of nationalism. The spectacle of women on the screen addressed national independence and the creation of a national film industry to resist the financial dominance of Europeans. In Iran, zan-e emrouzi-e shahri served the project of founding a modern nation-state, elevating of a culture of the city and urban development, and institutionalizing performing arts, mirroring the upholding of “male-guardianship.” In Egypt, in the absence of an authoritarian modern state and long-term experience of foreign occupations, al-mar’a al-jidida al-madani accompanied the traditional figure of bint al-balad (the countryside girl) to present modern advancements in film production with a traditional accent, to oppose European cultural values, to provide a tangible space for women’s multifaceted anti-colonial maneuvering, and to connect Egypt’s past history to its future. Performance art helped women to convey their cultural nationalism and a sense of imagined identity by letting them see and be seen by each other, create interactions between the artist and the audience, and emphasize music as the heart of a society’s culture and art. A culture of body performance, a female visual public sphere, and a feminine (and feminist) interpretation of cultural authenticity in performance art led women to claim the profession as a legitimate career.

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Kopsacheili, Maria. « Palaces and elite residences in the Hellenistic East, late fourth to early first century BC : formation and purpose ». Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:bc2f6cca-dde4-4d98-9981-16cc3deb4c8e.

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This thesis investigates the morphology and the purpose of palaces in major and minor kingdoms of the Hellenistic World. Elements of architecture, spatial organisation and decoration are analysed in the attempt to clarify issues of chronology and in order to identify function. The analysis places the material into its social and ideological context by taking into consideration the role of kingship ideologies in the formation of space used by royal courts. Comparison with residences of the elite demonstrates the reception of palaces not only as architectural models, but also as mechanisms of power manifestation. Macedonia is the starting point of the discussion as the homeland of the first Hellenistic kings. In the light of evidence recovered in the last twenty years and not comparatively studied before, the chapter brings together various chronological phases of the buildings. Questions of definition and on sources of inspiration are clarified further in the following chapters. The third chapter uses textual evidence and finds from the royal district of Alexandria to understand the meaning of palace architecture for the Ptolemies, while the seat of a local official in Transjordania reveals mechanisms of emulation. In chapter four the case of Pergamene palaces and their relationship with residences in the city demonstrates that formation of these royal seats corresponded to ideals of Attalid kingship. Seats of officials in the Seleukid Empire and palaces in Bactria and Kommagene, the subject of the fifth chapter, provide an insight into the position of palace architecture in processes of hybridisation in material culture. The last chapter is a synthesis of patterns of form and function and unifies the conclusions for each separate region. It emerges that shifts in power relations and the structure of the royal court, especially towards the end of the third century BC, were a crucial factor in shaping palace forms. The concluding chapter also provides a view from the West: examples from the late Roman Republic indicate that the role of Hellenistic palaces as models for power display went beyond the limits of royal courts.

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Drake, Suzanne. « L’art contemporain du Moyen-Orient entre traditions et nouveaux défis ». Thesis, Pau, 2014. http://www.theses.fr/2014PAUU1012/document.

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Dans les pays du Moyen Orient, nous sommes face à une réalité complexe, qui est encore peu comprise en Europe. Les médias nous dépeignent souvent une société majoritairement islamique fondamentaliste. Cette image, qui pourrait relever d’une représentation tardive du Moyen Orient par l’Occident est empreinte de problématiques d’ordre économique et sociétal. Une analyse précise permet de mettre au jour des singularités nationales et intranationales. Les développements artistiques profitent de ces sources multiples. Pour inclure les artistes du Moyen Orient dans l’histoire de l’art du monde, et comprendre les œuvres d’art contemporain, nous nous sommes servis de plusieurs approches. Outre l’analyse esthétique et la recherche d’influences formelles, il s’agit de comprendre les positions politiques de l'artiste, sa psychologie, son rôle dans la société, mais aussi la place de la religion dans la vie publique, la valeur attribuée à l’art contemporain et sa réception dans la société. Les marchés de l’art sont manifestement mondialisés, les critiques et commissaires d’expositions influencés par les goûts et jugements occidentaux et pour tout compliquer, nombre d’artistes qui se réclament d’un pays du Moyen Orient sont nés et vivent dans un pays occidental. Nous pouvons, en lien avec tous ces paramètres, constater des développements rapides dans le domaine de la production artistique et celui de sa diffusion dans la région. Notre recherche concerne ici à la production artistique actuelle de six pays et/ou peuples de la région: l’Egypte, la Jordanie, la Syrie, le Liban, la Palestine, Israël, et les Kurdes
We face complexe realities in the countries of the Middle East and they are still often ignored in Europe. The media usually show us societies which are basically Muslim fundamentalist. This image is a shadow of the late colonialisation of the Middle East and is influenced by our own social and economic problems. The differences between countries, and inside the actual countries, are analysed in order to understand artistic development and to include the artists of the Middle East in the world’s Art history. To understand the contemporary works of artists, we used a variety of approaches. Besides the aesthetic analysis and the research of formal influences, we also regarded the political position of the artist, his or her psychology, his or her role in society, but also the place of religion in public life, the value given to contemporary art inside the society and the way it is perceived. The world art markets are globalised, art critics and curators are however influenced by the tastes and judgements of the West, and to complicate the whole matter, a great number of artists who claim to come from a certain place in the Middle East are actually born somewhere else and live in diaspora. We can, in using all these parameters, see the rapid developments in the production of art and its appreciation in the region. This research aims to scrutinize the actual artistic production of six peoples in the region: Egypt, Jordan, Libanon, Palestine, Israel and the Kurds

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Esra, Kazem. « BEYOND THE STATED FUNCTION : Showcasing, through everyday objects, social obstacles imposed on Qatari female youth ». VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3141.

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This critical design project showcases obstacles that the Qatari culture and society impose on their female youth, hindering them from becoming independent individuals. It critiques the society and its social pressures. The project stimulates people to think by challenging their assumptions and perceptions, specifically social perception and judgment, family authority, and gender favoritism. This is achieved through hybridized accessories that are embedded with a meta-meaning that arouses curiosity, invites questions, and stimulates thoughts. Through the design of these appealing, high quality, and functionally viable everyday accessories, the project aims to communicate the social and cultural forces which impede Qatari female youths’ becoming individuals who dream, achieve, and thrive.

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Heinz, Sanda Sue. « The statuettes and amulets of Thonis-Heracleion ». Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:db17df52-6f5b-41e5-a650-f6ad268b2c60.

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This study catalogues and analyses 329 statuettes and amulets from Thonis-Heracleion, a sunken city off the coast of Egypt that flourished between the 7th and 2nd centuries BC. This is the first study of votive statuettes and amulets from the Late and Ptolemaic Periods that presents a comprehensive corpus from a single site, complete with detailed catalogue entries and photographs. Although some of the most exceptional pieces were previously published in an exhibition catalogue, the majority are unpublished and it is the first time they have been studied and viewed as a whole. The material includes not only Egyptian-style bronzes, which are typical dedications of this period, but also a range of other materials including lead, terracotta, faience, and limestone. Some figures are represented in foreign style and attest to a small hellenized community at the site. By viewing multiple categories of votive material laterally and in context, important conclusions about cultural interactions and cult practice at Thonis-Heracleion come to light. Chapter One details the find context of the statuettes and amulets, followed by a discussion of their types and the cults to which they attest in Chapter 2. Chapter 3 outlines the objects’ primary functions and demonstrates the ways that lead and bronze were utilised differently. Chapter 4 focuses on bronze and lead production methods, particularly methods of replicable production that are indicative of technological exchange with other Mediterranean cultures. Finally, in Chapter 5, I look at how the votives reflect the cultural community at Thonis-Heracleion, and how they compare to others at sites throughout Egypt. Each chapter highlights how the archaeological context informs us about cultural interactions between Egyptians and Greeks and about the dynamics of cult practice at a Delta site in the Late and Ptolemaic Periods.

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Amanat, 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.

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This thesis explores how today’s Sheherazades, in this case women photographers from the Middle East, create alternative representations that constitute new meanings and understandings of life, gender, and politics in Iran and the Arab world.

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Deijl, Aarnoud van der. « Protest or propaganda : war in the Old Testament Book of Kings and in contemporaneous ancient Near Eastern texts / ». Leiden : Brill, 2008. http://catalogue.bnf.fr/ark:/12148/cb41341528z.

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Seeds, Matthew L. « Discourses in Disanthro Studies ». Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1511347460756042.

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Harrison, Tracy Elizabeth. « Visualizing Complexity : A Spatial Analysis of Decorative Geometric Pattern in the Islamic World, 900-1400 AD ». PDXScholar, 2005. https://pdxscholar.library.pdx.edu/open_access_etds/2434.

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This study explores how the use of complex decorative geometric patterns in Islamic architecture spatially relates to advances in the fields of science and philosophy in the Islamic world between the ninth and fourteenth centuries. This project examines hypotheses developed by vario~s scholars on the forces that shaped the use of these patterns (known as the geometric mode) in Islamic architecture. The prevailing assumption that advances in mathematics contributed to the use of the geometric mode is used as a starting point for subsequent analysis. For this study, two spatial databases were created. One contains over two hundred and twenty monuments of Islamic architecture exhibiting the geometric mode, while the other contains over one hundred records of activity in the sciences and philosophy. From these databases, decorative geometric pattern types were classified and ranked, and scholarly activities were classified. Density maps were developed from these classes and ranks for each century, and were compared in a series of analytical overlay maps. Each map depicts the spatial relationships of the activities in question over a span of three centuries, enabling a spatio-temporal analysis of the connections between disciplines within the context of the broader cultural elements at work. These maps allow for examination of these disciplines in a new way; there has never been a spatial analysis testing the existing hypotheses until now. The density overlay maps show that some of the prevailing hypotheses are partially supported by the data, but the primary hypothesized relationship-that activity in mathematics prompted use of the geometric mode-is not applicable to all regions of the Islamic world during this time period. The spatial analysis exposes the previously overlooked possibility that the geometric mode could have influenced activity in the sciences and philosophy. This study provides tools to better understand the complex relationships among art, science, and philosophy: two spatial databases, a geographic information systems (GIS) model, and resulting analytical overlay maps. The maps produced in this project reveal examples where the quality of contact among disciplines in these very specific times and places is worth examining in greater detail.

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« Visual Ethnography in Three Preschools in Kuwait (Middle East) ». Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.15966.

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abstract: To understand the visual culture and art education practices within three ideologically distinct kindergartens, I employed an interdisciplinary approach, utilizing tools from the fields of art, education, anthropology, literary theory, visual studies and critical social theory. Each of the three schools was considered to be the "best" of its kind for the community in which it resided; TBS was the original bilingual school, and the most Westernized. It was set in the heart of a major city. The second school, OBS, operated from an Islamic framework located in an under-developed small transitioning suburb; and the last school, NBS, was situated in Al-Jahra, an "outlying area" populated by those labeled as bedouins (Longva, 2006). The participants' attitudes towards art education unfolded as I analyzed my visual observations of the participants' daily practices. I have produced a counter-hegemonic visual narrative by negotiating my many subjectivities and methods to gain new knowledge and insights. This approach has provided a holistic understanding of the environment in each site, in which attitudes and practices relating to art education have been acquired by the community. Operating from three different educational paradigms, each school applied a different approach to art education. The more Westernized school viewed art as an individual act which promoted creativity and expression. In the Islamic school art was viewed as an activity that required patterning (Stokrocki, 1986), and that the child needed to be guided and exposed to the appropriate images to follow. In the bedouin school, drawing activities were viewed as an opportunity for representing one's individual story as well as a skill for emergent literacy.
Dissertation/Thesis
Ph.D. Curriculum and Instruction 2012

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Mason, Deanna. « "The perennial dramas of the East" : Representations of the Middle East in the Writing and Art of Dante Gabriel Rossetti and William Holman Hunt ». Thesis, 2009. http://hdl.handle.net/1974/1945.

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This dissertation studies depictions of the Middle East in the works of the Pre-Raphaelite Brotherhood. My discussion focuses on two prominent members of the Brotherhood—Dante Gabriel Rossetti and William Holman Hunt—and utilizes an interdisciplinary approach that examines the poetry, prose, unpublished correspondence and journals, sketches, watercolours, and oil paintings that they produced prior to 1856. I argue that Rossetti and Hunt make use of the Middle East as a repository for and reflection of the ambiguities and ambivalences of their own positions as avant-garde artists and authors. Chapters Two and Three focus on the work of Dante Gabriel Rossetti. Chapter Two examines Rossetti’s juvenilia in order to trace the ways in which the young author-artist uses the Middle East as a platform from which to work out the interplay between narrative and image, the conceptualization of the role of the author and artist, and the use of realistically depicted elements in religious painting. Chapter Three continues this discussion of Rossetti through an investigation of the 1850 edition of his poem “The Burden of Nineveh,” which centres on an encounter with an ancient Assyrian statue, and I argue that Rossetti links this artifact to the P. R. B. and uses it to critique the artistic ideals of mid-nineteenth-century England. The next two chapters shift to an investigation of William Holman Hunt’s first visit to the Middle East in 1854-6, a journey that became a focal point of the author-artist’s career. Chapter Four makes extensive use of Hunt’s unpublished diaries and letters from his sojourn in the Holy Land to destabilize the widespread conception of the artist as a staunch imperialist and the foremost English religious painter of the nineteenth century. Building on this foundation, Chapter Five looks back to the three months that Hunt spent in Egypt in 1854 and investigates the ways in which the complex experiences that the author-artist describes in his unpublished letters from this period filter into the watercolours, sketches, and oil paintings that he executed in Egypt.
Thesis (Ph.D, English) -- Queen's University, 2009-06-16 15:46:17.016

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Van, Dijk Renate Marian. « The motif of a bull in the ancient near East : an iconographic study ». Diss., 2011. http://hdl.handle.net/10500/5088.

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The bull was a potent symbol of power, strength, and, to a lesser degree, fertility to the peoples of the ancient Near East from the twelfth century until 330 BCE. This symbolism was manifested in several iconographic motifs. These motifs reveal the bull as a manifestation of divine characteristics and as an expression of the power of man, and particularly the authority of the king. The use of these iconographic motifs was not consistent across the entire area of the ancient Near East; some differed in appearance and use in the different areas of the region, and many changed over time even in the same area. In all areas and during all periods the basic core symbolism stayed the same, and the bull was always held in a special respect.
Old Testament and Ancient Near Eastern Studies
M.A. (Ancient Near Eastern Studies)

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Pires, Andreia Helena Nascimento. « Female presence in the Middle Eastern and North African art market ». Master's thesis, 2019. http://hdl.handle.net/10071/19877.

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The present dissertation aims to show the strong presence of modern and contemporary female artists, and art businesswomen from the Middle East and North Africa, as well as providing possible explanations for the success of women in the art market of this region. It begins with a historical framework of the region’s art, focusing on the influence and work of modern and contemporary female artists. Afterwards, it highlights women’s activities in art patronage in ancient times, followed by the study of art businesswomen at the forefront of the region’s art scene, ending this section with the analysis of female artists’ best auction results. Finally, to give a better perspective, there is a comparison between women of the Middle East and North Africa and women of the West in the art field, ending with the presentation of hypotheses to explain women’s success in the art market of the region. Our research was based on articles and interviews with important agents of the region’s art market: Dr. Salwa Mikdadi, Amirali Ghasemi, Hala Khayat and Myrna Ayad. It shows that women in the region have a successful career in the arts due to a combination of factors. On the one hand, the underestimation of careers in this field, considered as an undervalued profession. On the other hand, the prevalence outdated stereotypes and misconceptions about the women’s status and about a particular sensibility and interest from women in the arts.
A presente dissertação visa demonstrar a forte presença de artistas modernas e contemporâneas, e de mulheres no negócio da arte na região do Médio Oriente e Norte de África, bem como fornecer possíveis explicações para o sucesso das mulheres no mercado de arte desta região. O presente estudo começa com um enquadramento histórico sobre a arte da região, com maior foco na influência e no trabalho de artistas femininas modernas e contemporâneas. Posteriormente, são demonstradas as atividades das mulheres no mecenato nos tempos antigos, seguido de um estudo de mulheres de negócios na vanguarda da cena artística da região, terminando esta seção com uma análise dos melhores resultados em leilão de artistas femininas. Finalmente, para fornecer uma melhor perspetiva, encontra-se uma comparação entre as mulheres do Médio Oriente e do Norte de África e do Ocidente no meio artístico, terminando com a apresentação de hipóteses para explicar o sucesso das mulheres no mercado de arte da região. Esta análise foi realizada com o apoio de artigos e entrevistas com agentes importantes do mercado de arte da região: Dr. Salwa Mikdadi, Amirali Ghasemi, Hala Khayat e Myrna Ayad. Foi demonstrado que as mulheres desta região têm uma carreira bem-sucedida nas artes devido à combinação de uma subvalorização de uma carreira neste campo no século XX, tendo sido considerada como uma profissão subvalorizada; e também devido à prevalência de estereótipos desatualizados e conceitos errados no que concerne o estatuto da mulher e uma particular sensibilidade e interesse das mulheres na arte.

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Osborne, Bethany Joy. « The Art of Remembering : Iranian Political Prisoners, Resistance and Community ». Thesis, 2014. http://hdl.handle.net/1807/65710.

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Over the last three decades, many women and men who were political prisoners in the Middle East have come to Canada as immigrants and refugees. In their countries of origin, they resisted oppressive social policies, ideologies, and various forms of state violence. Their journeys of forced migration/exile took them away from their country, families, and friends, but they arrived in Canada with memories of violence, resistance and survival. These former political prisoners did not want the sacrifices that they and their colleagues had made to be forgotten. They needed to find effective ways to communicate these stories. This research was conducted from a critical feminist‒anti-racist perspective, and used life history research to trace the journey of one such group of women and men. This group of former political prisoners has been meeting together, using art as a mode of expression to share their experiences, inviting others to join their resistance against state violence. Interviews were conducted with former political prisoners and their supporters and artist facilitators who were part of the art workshops, performances, and exhibits held in Toronto, Canada from January 2010 through December 2011. This dissertation examines the importance of memory projects and of remembering in acts of public testimony and the significance of providing spaces for others to bear witness to those stories. This research also contributes to the body of knowledge about the role that remembering, consciousness, and praxis play in individual and community recovery, rebuilding community, and continued resistance.

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Grobler, Estelle Cornelia. « Ikonografiese studie van Ou Nabye-Oosterse ivoor gedurende die Ystertydperk, 1200 v.C. - 538 v. C ». Diss., 2015. http://hdl.handle.net/10500/18931.

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Die Bybel is die boek wat die meeste gelees word en tog is dit moeilik om die leefwêreld van daardie era te verstaan. My doel is om ’n nuwe blik te gee op ’n paar Ou-Testamentiese simbole. Die ontdekking van ivoorobjekte in die middel negentiende eeu in Nimrud se paleise het tot groot opwinding gelei, aangesien dit met die literatuur ooreenstem. Die ivoorstukke het ’n “verhaal” kom vertel. Deur die streke se kuns te bestudeer kan ons ’n prentjie vorm van die kuns wat in die Ystertydperk in Mesopotamië en Palestina se paleise en welaf huise voorgekom het. Die ikonografie word ontrafel deur ’n paar ivoorstukke te “lees.” Ikonografie is die beskrywing en verklaring van beelde wat op bepaalde onderwerpe betrekking het. Sekere beelde kom herhaaldelik voor in Mesopotamië. In dié studie word hoofsaaklik die Gevleuelde Wesens, die Boom van Lewe, die Gevleuelde Sonskyf asook Rosette beskryf.
The Bible is widely read but it is difficult to understand the world and culture of the era that it is set in. It is my aim to provide new insight into a few Old Testament verses with their symbolic meaning. When ivory was discovered at Nimrud the discovery elicited huge excitement. The ivory pieces came to tell a story. Through studying the art of the different cultures a picture begins to appear of the palaces and homes of the wealthy in the Levant. The iconography could be “read.” Iconography is the science of interpreting the message the art wants to convey to the viewer. A few images are repeatedly showing up in the Levant during the Iron Age. In this study I am focusing mainly on The Tree of Life, the Winged Disc, the Rosette and Winged Spiritual Beings. I am attempting to discern the meaning behind these images.
Biblical & Ancient Studies
M.A. (Ou Nabye-Oosterse Studies)

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Moineau, Claire. « La construction des artistes femmes du Moyen-Orient dans les expocollections du Centre Pompidou : les cas de "elles@centrepompidou" et "Modernités plurielles de 1905 à 1970" ». Thèse, 2018. http://hdl.handle.net/1866/21278.

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Polledri, Claudia. « Photographier la ville, penser l'histoire : Beyrouth dans la représentation photographique artistique contemporaine ». Thèse, 2015. http://hdl.handle.net/1866/12330.

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Cette étude s’organise autour d’une articulation : celle entre un médium (la photographie), une ville (Beyrouth), et les événements qui ont marqué son passé récent. Le thème des rapports entre la photographie et l’histoire, avec la pluralité de sens qui le décrit, vient, en arrière-fond de ces questions, délimiter l’horizon de cette étude ; le lien entre voir et savoir, antiquement aux sources de la connaissance historique (Hartog, Loraux), en représente la ligne de fuite. En premier plan, la relation photographique et historienne à l’événement constitue l’objet de cette recherche dont le propos est d’identifier dans la photographie une référence à l’histoire considérée en tant qu’écriture. Concrètement, cet argument se déplie sur deux mouvements. Il exige, dans un premier temps, une série d’analyses théoriques visant à étudier le potentiel de connaissance et le caractère formel de la photographie en qualité de représentation événementielle. En partant des expérimentations des avant-gardes (Lugon, Baqué), jusqu’au jumelage entre la photographie et la presse, il s’agira de montrer la part de lisibilité qui appartient aux narrations photographiques (Barthes, Lavoie). Ensuite, on prendra en considération le travail opéré par l’historien lors de l’opération historiographique visant à produire, autour de l’événement, une représentation historique (de Certeau, Ricœur, Ginzburg). Outre faire ressortir le caractère de visibilité qui appartient à l’écriture historienne, ce passage sera aussi l’occasion de produire une étude comparée de la photographie et de l’histoire (Kracauer) autour de notions ponctuelles, comme celles d’empreinte, d’indice et de témoignage. Le moteur de ce premier mouvement est la notion d’événement. Abordée d’un point de vue phénoménologique (Zarader, Marion, Dastur, Diano), elle nous permettra d’observer la photographie et l’histoire d’après la génétique de leur construction. Finalement, Beyrouth et son histoire façonnées par les images constituent le cadre à l’intérieur duquel s’organise le deuxième mouvement. Les analyses des œuvres de Sophie Ristelhueber (Beyrouth photographies, 1984), Robert Frank (Come again, 1991) et Lamia Joreige (Beyrouth, autopsie d’une ville, 2010) sont conçues comme autant d’espaces dialogiques entre la photographie, l’épistémologie de l’histoire et les événements historiques qu’elles représentent. Le propos est de faire ressortir le basculement qu’elles mettent en scène : de la chronique vers l’écriture d’histoire.
This study focuses on the connection between a medium (photography), a city (Beyrouth), and the events that have marked its recent past. The theme of the relationship between photography and history, with the plurality of meanings that describes it, defines the scope of this study. The link between seeing and knowing, which in Antiquity was the root of historical knowledge (Hartog, Loraux), represents its vanishing point. The photographic and historical relationship with the event constitutes the purpose of this research, the aim of which is to identify in photography a reference to history considered as writing. The argument of this dissertation unfolds in two stages. The first stage requires a series of theoretical analyses, which aim at studying the knowledge potential and the formal nature of photography as a factual representation. Starting with the experimentation of the avant-gardes (Lugon, Braqué), and exploring the twinning of photography and the press, our goal will be to demonstrate the part of readability that belongs to the photographic narratives (Barthes, Lavoie). We will then take into consideration the work accomplished by the historian during the historiographic process, aiming at producing an historical representation of the event (de Certeau, Ricoeur, Ginzburg). In addition to emphasizing the characteristic of visibility, which belongs to historical writing, this will also provide the occasion to produce a comparative study of photography and history through particular notions such as imprint, sign, and evidence. The driving force behind this first part is the notion of event. Broached from the point of view of phenomenology (Zarader, Marion, Dastur, Diano), it will enable us to analyze photography and history according to the genetics of their construction. Beyrouth and its history, shaped by images, are the context in which the second stage is organized. The analysis of the works of Sophie Ristelhueber (Beyrouth photographies, 1984), Robert Frank (Come again, 1991), and Lamia Joreige (Beyrouth, autopsie d’une ville, 2010) are conceived as dialogical spaces between photography, the epistemology of history and the historical events that they represent. The aim is to emphasize the shift they present in moving from chronicle to the writing of history.

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Gordon, Lanning Robbyn Ellen Lorraine. « Inverting the lens : insider photography by the Manaja’a family, Humayma, Jordan ». Thesis, 2009. http://hdl.handle.net/1828/2012.

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In this thesis, I assert that photographs of Jordanian Bedouin produced by cultural insiders disrupt and challenge pan-Bedouin and romantic photographic constructions of Bedouin made by cultural outsiders. These outsiders, Western ethno-photographers and members of the Jordanian Hashemite monarchy, use photographs featuring visual symbols of Bedouin identity in order to legitimise claims to land, resources, and cultural capital. Data produced from collaborative action research (the creation of photography with a self-identifying Bedouin family from Humayma, Jordan) demonstrates an increasingly complex version of Jordanian Bedouin identity absent from outsider representations. This nuanced picture of Bedouin identity, while limited by its focus on a single family, may help contribute to further collaborative investigations of Bedouin identity in Jordan. This research has the potential to assist in the better understanding of the diverse social practices and concerns of Bedouin living in Jordan today.

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PŮBALOVÁ, Ludmila. « Přístupy k smrti a k pohřbívání v různých historických epochách lidstva ». Master's thesis, 2008. http://www.nusl.cz/ntk/nusl-49584.

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Dissertation .. The approaches towards death and burial in different historical epochs of mankind dealing with a view of death in intellectual conceptions during the history. People have been engaged in the question of life and deaths for ages. It is one of the oldest, the hardests and the most fundamental questions which are asked. We can think of the death in two levels: a general and a personal. The comprehension of deaths was developing in history. Thesis traces, what affected and how it is possible, that the today`s subject of personal death states taboo, even if masmedia floods us with death of others. For understanding, the thesis goes throught history. From the methodological aspects it follows the time line, divides the history into ancient world, the Middle Ages and modern period, as well as on horizontal line following individually nations and their intellectual directions.

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Thèses sur le sujet « Folk art, middle east »

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