Tesi: "Arts – political aspects"

1

Maguire, Geoffrey William. "Political postmemory : childhood, memory and politics in Argentina's post-dictatorship generation (2003-2013)". Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709107.

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2

Ancel, Marie-Eve Zoe. "Les aspects juridiques du transport des œuvres d'art /". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34007.

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Abstract (sommario):

Not only usual goods are carried: some of a particular nature need particular regulations. The transportation of dangerous goods regulated by specific international rules is a good illustration while the example of artworks carried to be exposed in temporary exhibitions is less famous. Their material protection is insured by museum professionals and specialized carriers. Their legal protection is insured on two levels: on one side, detailed customs procedures are set up to regulate their movement; moreover, specific contractual rules have been created by professionals, but they do apply international conventions relative to international carriers liability. On the other side, one usually chooses specific insurance policy called "a nail to nail" contract. Confidentiality and mutual trust are the keystone to gain success in matter of transportation of artworks.

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3

Young, Thomas Chesnutt. "Russell Kirk's Column "To the point": Traditional Aspects of Conservatism". [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-0714104-151923/unrestricted/YoungT080504f.pdf.

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Thesis (M.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-0714104-151923 Includes bibliographical references. Also available via Internet at the UMI web site.

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4

Antrobus, Richard Roy. "The advent of the 'Festivore' an exploration of South African audience attendance in the performing arts at the National Arts Festival". Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002362.

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In South Africa, the performing arts have contributed to enhancing national identity and distinctiveness despite coming up against weak legislation, policy and infrastructure to support their growth and proliferation (Fredericks, 2005: 9). Coupled with a decline in both government and consumer support and the contradictory disparity between valuing the arts and the funding of the arts, theatre companies can no longer rely on the comfort of external subsidies and financial support. In order to be economically viable and sustainable to ensure their survival, there is an increasing demand for theatre companies to look to novel ways of increasing audience demand for theatre and improving audience attendance. However, instead of risking artistic integrity and the performance product to satisfy the market, this research suggests that promotion and development of theatre at arts festivals provides a platform to access a wider theatre-going public, which therefore facilitates a change in the market focus toward appreciation of the product (production). It explores leading arguments pertaining to the attendance of arts and cultural events, namely, Peterson and Simkus (1992), later updated by Peterson‟s (2005)„omnivore-univore‟ argument. The argument purports cultural consumption as binary in nature: either significant and diverse or limited, if not absent altogether. Supported by a number of case-studies, including Chan and Goldthorpe (2005) and Montgomery and Robinson (2008) and Snowball et al. (2009), the investigation challenges Bourdieu‟s (1984) theory on cultural distinction as well as the homology and individualisation argument. In determining the factors that influence cultural taste and consumer behaviour, including motivators and inhibitors of attendance and a predominant emphasis on audience risk and information asymmetry, the research was placed in a local context, providing an overview of the socio-economic theatre environment in South Africa. It investigated the nature, structure and impact of local festivals (as events) in changing audience demand and theatre attendance. With specific reference to the South African National Arts Festival (NAF) the research notes the effects of Hauptfleisch‟s „eventification‟ phenomenon on univore attenders and therefore expands the omnivore-univore theory to include a new breed of attender: the “Festivore”. A case study explored the “Festivore” hypothesis through empirical research, surveys and face-to-face qualitative interviews and on-seat questionnaire responses by festival attenders. Personal interviews and communication was also carried out with leading experts in the field. The data was then analysed using SPSS 13 electronic statistical analysis programme to determine the socio-demographics and the factors that affect theatre attendance of existing, as well as potential target, theatre audiences at the National Arts Festival The study concluded that South African theatre attenders are generally omnivorous consumers and that, more importantly, there seems to be a shift towards „festivorous‟ consumption. Furthermore, evidence supports the development and proliferation of festivals as a means not only to support and promote the arts in South Africa but, more importantly, to generate new theatre audiences and entrench theatre attendance into South African culture.

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5

Polgovsky, Ezcurra Mara. "Touched bodies : corporeal ethics in Latin American art at the onset of the media age". Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709431.

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6

Law, Nga Wing. "Performing identities: performative practices in post-handover Hong Kong art & activism". HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/518.

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This is an autoethnographic account of the performative practices in the Umbrella Movement (2014, Hong Kong), a struggle that I myself and some fellow artists participated in. Instead of making a discursive analysis of postcolonial identity, this thesis focuses on performative practices and the performativity of artists and their activist counterparts in the Umbrella Movement. This thesis starts with an overview of the political situation in Hong Kong before relating it to the social turn in contemporary art practice and the performative turn in art and research practices. Instead of using performance as a metaphor for understanding cultural phenomena, I persevere with the notion of performance per se, of artists taking part in activism and examining the performativity involved in the process. As an artist/researcher, I have been seeking a research methodology that is compatible with the means and ends of activism being studied and can nourish a reflexive account on the performative practices of resistance in postcolonial Hong Kong. I propose a methodology of 'performative autoethnography' which accentuates the co-performative and intersubjective process as well as the non-textual aspects of embodied experience and of performing struggle in activism. Reviewing the performative practices on macro- and micro-levels, I borrow the term 'microutopia' to depict the imaginary space created by micro-performances used to cope with the discrepancies between utopian ideals and reality. Specifically, I examine the transformative power of some performative tactics employed in the Umbrella Movement: parodic performance of 'over-identification,' improvisation accomplished by collective connectivity and kinetic responsiveness of the performers, and the artist as an intersubjective mediator. Among these tactics, there are recurring claims and recurring forms that add up to a repertoire of protest. Through microutopian interventions staged at the site of protest, the identities of the multitude are constructed through critical engagement. I suggest that we use the concept of 'critical identities' to study how identities are constructed within an open-ended network of social relations, using a critical reflexive lens of performance studies at a precarious moment in which Hong Kong finds itself at a crossroads.

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7

Cooper, Craig. "The interrelationship and inscription in the experience of place in Hong Kong: art, bodies and architectures". HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/749.

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This thesis acknowledges the current situation of political unrest in Hong Kong and examines the volatile horizons that began to emerge from late 2014, while also understanding those that came before. The thesis unpacks the relationships between art, architecture and society and their significance in relation to Hong Kong. Through highlighting and identifying the potential restrictions and examining and responding to the legacy and logic of Occupy Central, this thesis proposes an expansion of the space of possibilities for art in Hong Kong.The interweaving of diverse subjects are part of an intersectional methodology. The frequent changing of artists, locations and subjects have evolved out of the geopolitical situation that this author was embedded within and the architectural conditions under consideration in the research. By using techniques of close analysis and interviews, unpacking existing relationships, creating new temporary relationships (intersectionality) through exhibitions, reports, site visits and experimental curatorial strategies within the city, this thesis articulates the positions and subjectivities that can form around an artwork and its communities of production. This thesis navigates the haunted spaces concealed by ideological barriers, exposing varying sites of production and tensions through time and place. Research examines and proposes new ideas and approaches to art and art-working in Hong Kong while considering the marginalised, alienated and the xeno. Through highlighting a hitherto absent sense of commonality between the government and its subjects and exploring all corners of the political spectrum, the research critically examines the roots of ideological logic as expressed in the city-form and sets out to expand the space of possibilities.

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8

Snowball, Jen. "The economic valuation of cultural events in developing countries: combining market and non-market valuation techniques at the South African National Arts Festival". Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002703.

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The arts in many countries, but particularly in developing ones, are coming under increasing financial pressure and finding it difficult to justify the increases in government funding needed to maintain and grow the cultural sector. The trend in cultural economics, as well as in other areas, appears to be towards including qualitative valuations, as well as the more traditional quantitative ones. This thesis argues that the value of cultural events should include long term historical qualitative analysis, financial or economic impact and a valuation of the positive externalities provided by cultural events and that any one of these should only be regarded as a partial analysis. Four methods of valuing the arts using the South African National Arts Festival (NAF) as an example are demonstrated. Firstly, a qualitative historical analysis of the role of the NAF in South Africa’s transformation process from Apartheid to the democratic New South Africa is examined, using theories of cultural capital as a theoretical basis. It is argued that the value of cultural events needs to take into account long-term influences especially in countries undergoing political and social transformation. The second valuation method applied is the traditional economic impact study. Four economic impact studies conducted on the NAF are discussed and methodologies compared. It is concluded that, despite the skepticism of many cultural economists, the method can provide a useful partial valuation and may also be used for effective lobbying for government support of the arts. Chapter four discusses willingness to pay studies conducted at the NAF in 2000 and 2003 (as well as a pilot study conducted at the Klein Karoo Nationale Kunstefees). It is found that lower income and education groups do benefit from the positive externalities provided by the Festival and that this is reflected in their willingness to pay to support it. It is also argued that such contingent valuation studies can provide a reasonably reliable valuation of Festival externalities, but that they may be partly capturing current or future expected financial gains as well. Finally, the relatively new choice experiment methodology (also called conjoint analysis) is demonstrated on visitors to the NAF. The great advantage of this method in valuing cultural events is that it provides part-worths of various Festival attributes for different demographic groups. This enables organizes to structure the programme in such a way as to attract previously excluded groups and to conduct a cost-benefit analysis for each part of the Festival.

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9

Shaw, Nancy (Nancy Alison) 1962. "Modern art, media pedagogy and cultural citizenship : the Museum of Modern Art's television project, 1952-1955". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36790.

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The Museum of Modern Art's television project sponsored by the Rockefeller Brother's Fund between 1952 and 1955 was designed to educate a democratic and cultured citizenry through the principles and practices of modern art and liberal humanism. Through a close reading of four television programs, related policy documents and exhibitions, as well as critical, educational and promotional literature, this study will show how within the context of the MoMA's mandate and history, the television project was a decisive, yet highly troubled attempt to forge cultural citizenship through the burgeoning media of modern art and television. This exploration will establish how the television project was an integral aspect of the MoMA's efforts since World War II to situate modern art as essential to the formation of an international polity shaped around the promise of universality, yet dependent on upholding the primacy of free and creative individuals. In addressing such a challenge, this dissertation will contend that television was not necessarily antithetical to modernism, rather it was just one among an array of struggling forces falling within the rubric of the modern. Moreover, this analysis will consider the importance of culture in logics of liberal governance. In order to elucidate the dimensions of cultural democracy as they emerged through the MoMA's television project, this study will be shaped around a discussion of three components crucial to the formation and maintenance of citizenly conduct---civic education, democratic cultural communications, and cross-cultural governance. To these ends, a range of sources from the disciplines of Communications, Cultural Studies and Critical Artistic Studies will be drawn on in order to investigate the provisional links forged between modern art, media pedagogy, and cultural citizenship in the Cold War period.

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10

Lochner, Eben. "The democratisation of art CAP as an alternative art space in South Africa". Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002205.

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While formal arts education was inaccessible to many during Apartheid, community-based centres played a significant role in the training of previously disadvantaged artists. By engaging in a socio-political critique of the history of South African art, this thesis argues that even though alternative art spaces are often marginalised, they remain essential to the diversification and democratisation of contemporary South African art today with its re-entry into the international art scene. According to Lize van Robbroeck (2004:52), “some of the fundamental ideals of community arts need to be revised to enrich, democratize and diversify [South Africa's] cultural practice.” The aim of my Thesis is to investigate this statement in relation to the contribution the Community Arts Project (CAP) in Cape Town (1977-2003). CAP and other art centres have played an indispensable role in the establishment of black artists and in producing a locally reflective artistic practice in South Africa, even into the 21st century. Through researching the changes the organisation underwent between the 1980s and 1990s, the ways in which such art centres constantly need to respond to the changing sociopolitical landscape around them become clear. Within South Africa these centres were seen to play a significant part in the liberation struggle and then later in nation building. While these centres were well supported by foreign donors in the late 1980s, such funding was withdrawn in 1991 and the majority of art centres collapsed, illustrating to some degree that the training of artist was not valued outside the context of the struggle against apartheid. By interviewing key people and by reading documentation stored at the Manuscripts and Archives department of UCT I have discovered some of the different benefits and hindrances of working in community art centres both during and after Apartheid. This thesis argues that these centres still play a vital role in contributing to the development of South Africa's local art practice and should not be relegated to the sideline.

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11

Kaden, Martha J. "Herinnering, geskiedenis, identiteit : 'n ondersoek na beeld en teks in mito-poesis". Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/8546.

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Thesis (MA)--University of Stellenbosch, 2002.
214 Leaves printed on single pages, preliminary pages i- xvi and numbered pages 1-191. Includes bibliography and illustrations.
Digitized at 600 dpi grayscale to pdf format (OCR), using a Bizhub 250 Konica Minolta Scanner. Digitized by Ivan Jacobs on request of Niel Hendrickz, 15 April 2011.
ENGLISH ABSTRACT: This investigation is informed by the assumption that language, as representation and as image, is positioned in a metaphorical relationship to reality. Language, as a structure of representation, is the way in which we represent reality to ourselves and to others and recreate the past, as well as the way in which we invest our lives with meaning, significance and experience. Language includes visual and verbal representation, and this investigation shows how image and text create a variety of multiple meanings through playful and interactive reciprocation. Following from the assumption that language comprises temporal and spatial qualities, it is also the terrain that enables us to know and understand reality, ourselves, and others. This emphasizes the material nature of language, which is also connected with social and cultural practices and, as such, involves reciprocation and interaction between divergences. Language is therefore a mode of action that makes the bridging of divisions possible. Language is proposed as a medium through which the monolithic hegemony of the apartheid past may be confronted within a multicultural South Africa. The aim of representing this past in my work is not to recall it as it was or to discover etemal, inheritable qualities, but rather to bring about re-demption (healing) through re-presentation. Re-demption and re-presentation is a textual practice that involves a re-script of the past. With the understanding that history and culture are regarded as text, re-writing the past does not involve representation as mimesis, but as production. This investigation recognizes the role of the subconscious as the other or the alterity in all language constructs that makes it possible to circumvent the logic of binary oppositions; entertain alternatives simultaneously; erase boundaries; share spaces, and discover the other in the self. This unconscious language of the other, as a strange doubling and interplay between near and far, gives rise to poies/s. The creation of multi-dimensional spaces that draw the poetical and the everyday into an imaginative and directed conceptual interplay as well as provoke dialogue between differences and diversities, engenders a desire for the complexity of the other. The interplay and recurrent movement across divisions and between paradoxes create a new and changed interspace, characterized by difference, plurality, and contradiction. Intertextual spaces allow relationships between differences and exist precisely as a result of dialogicity between diversities. In this way it is possible to establish, by virtue of difference, a mutual, interdependent relationship with the other. Metaphorical language requires an allegorical reading that places divergences in relation to one another, thereby causing a mythic animation of signification that moves from one level to another. Mytho-poeisis, as an allegorical structure, is proposed as a model by means of which symbolic transformation and redemption of the personal and collective psyche may occur. Poetic re-imagining as re-presentation impels change and transformation and points to other possible forms of social and ethical experiences. This impulse, to reconcile the social and the aesthetic, or the cultural with symbolic form, is based on the principle of reconciliation between art and life.
AFRIKAANSE OPSOMMING: Hierdie ondersoek handhaaf die veronderstelling dat taal in 'n metaforiese verhouding tot die werklikheid staan as voorstelling en as beeld. Taal, as 'n struktuur van voorstelling, is die wyse waarop ons die werklikheid aan onsself en ander voorstel en die verlede herskep, asook die wyse waarop ons sin, betekenis en ervaring aan ons lewens verskaf. Taal sluit visuele en verbale voorstellings in en hierdie ondersoek toon op watter wyse beeld en teks in speelse en interaktiewe wisselwerking 'n verskeidenheid meersinnige betekenisse skep. Uitgaande van die veronderstelling dat taal temporele en ruimtelike kwaliteite betrek, is dit ook die terrein wat ons in staat stel om die werklikheid, onsself en ander te ken en verstaan. Dit beklemtoon die materiele aard van taal, wat ook met sosiale en kulturele praktyke verbind is en sodanig wisselwerking en interaksie tussen uiteenlopendhede betrek. Taal is dus 'n modus van doen, wat oorbrugging van skeidings moontlik maak. Taal word as 'n medium voorgestel waardeur die monolitiese hegemonie van die apartheidsverlede binne 'n multikulturele Suid-Afrika gekonfronteer word. Voorstelling van hierdie verlede in my werk is nie met die doel om dit te herroep soos dit was, of ewige, erfbare eienskappe te ontdek nie, maar eerder om herstel deur her-voorstelling te bewerkstellig. Her-stel en her-voorstelling is 'n tekstuele praktyk wat 'n re-skripsie van die verlede behels. Met begrip dat geskiedenis en kultuur as teks beskou word, behels die her-skryf van die verlede nie voorstelling as mimesis nie, maar as produksie. Hierdie ondersoek erken die rol van die onderbewussyn as die ander of die alteriteit (alterity) in alle taalvoorstellings wat dit moontlik maak om die logika van binere oposisies te omseil; alternatiewe gelyktydig in ag te neem; grense uit te wis, ruimtes te deel en die ander in die self te ontdek. Hierdie onbewuste taal van die ander, as 'n vreemde verdubbeling en spel tussen naby en ver, gee aanleiding tot poesis (poiesis). Die skep van multidimensionele ruimtes wat die poetiese en die alledaagse in 'n verbeeldingryke en gerigte konseptuele wisselspel betrek, asook dialoog tussen verskille en diversiteite bewerkstellig, skep 'n aandrang vir die kompleksiteit van die ander. Die interspel en ewigdurende beweging oor skeidings en tussen paradokse skep 'n nuwe en veranderde interruimte, wat gekenmerk word deur verskil, pluraliteit en kontradiksie. Intertekstuele ruimtes laat verskilsverhoudings toe en bestaan juis as gevolg van dialogisiteit tussen diversiteite. Op hierdie wyse is dit moontlik om op grond van verskil 'n wedersydse en interafhanklike verhouding met die ander aan te knoop. Metaforiese taalgebruik verg 'n allegoriese lees wat uiteenlopendhede in verhouding tot mekaar plaas sodat dit 'n mitiese animasie van betekening bewerkstellig wat vanaf een vlak na 'n ander vlak beweeg. Mito-poesis, as 'n allegoriese struktuur, word voorgestel as model waarvolgens simboliese transformasie en herstel van die persoonlike en kollektiewe psige kan geskied. Poetiese her-verbeelding as her-voorstelling motiveer verandering en transformasie en dui op ander moontlike vorms van sosiale en etiese ervarings. Hierdie impuls, om die sosiale en die estetiese, of om die kulturele met simboliese vorm te vereenselwig, berus op die beginsel van versoening tussen kuns en lewe.

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12

Botma, Gabriel Johannes. "Manufacturing cultural capital : arts journalism at Die Burger (1990-1999)". Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/18065.

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Thesis (PhD)--Stellenbosch University, 2011.
ENGLISH ABSTRACT: This study examines the discursive role and positioning of arts journalism at Die Burger during a period of radical transformation in South African society. The study is conducted within a critical-cultural paradigm. Arts journalists are considered to be manufacturers of cultural capital, a term devised by Pierre Bourdieu as part of his comprehensive field theory framework. While Bourdieu uses cultural capital in the main to describe the role of education and culture in the maintenance of elite power hierarchies, this study investigates how the nature of cultural capital at Die Burger was affected by power shifts when competing elites jostled for dominance in a post-apartheid dispensation. By drawing on Michel Foucault’s theory of discourse, the focus of research further incorporates the discursive positioning of arts journalists in their coverage of arts and cultural events in the 1990s in relation to shifting configurations of power. The argument is that arts journalism at Die Burger can be situated within networks of power and thus contributed to the structuring of post-apartheid society. In the words of Antonio Gramsci, arts journalists became involved in hegemonic and counter-hegemonic struggles. Flowing from these theoretical departure points, the study identifies critical discourse analysis (CDA) as an appropriate research method for textual analysis and adapts a five-phase model suggested by Teun van Dijk as part of his contextual CDA approach. The analysis thus focuses in turn on the context of discourse, discursive struggles between arts journalists and political journalists, strategies of classification used by arts journalists, emerging themes of discourse in arts journalism, and how the selection and presentation of arts journalism on news and arts pages were influenced by various factors, including the personal background and experiences of arts journalists (The concept of Bourdieu’s “habitus”). To affect triangulation and enhance the textual analysis, the study also employs semi-structured indepth interviews with arts journalists who were prominent at Die Burger in the 1990s. The study found that arts journalists were at the intersection of different and often diverging and contradictory power-points in post-apartheid discourses at the newspaper. On the one hand, some arts journalists embraced a legacy of editorial independence at the arts desk and sometimes created oppositional discourses to the official political view of the newspaper: for instance on the issue of alleged “collective guilt” for Afrikaners and whether Naspers should appear before the Truth and Reconciliation Commission (TRC) to explain its role in supporting the National Party (NP) during apartheid. On the other hand, many arts journalists shared the editor’s apparent aversion to the international cultural boycott supported by the ANC and harboured some of the same skepticism about the so-called Africanisation of society and resultant attacks on Eurocentrism in the arts. This study -- the first on this level to focus on Afrikaans arts journalism since 1994 -- represents a significant contribution to knowledge in the under-researched field of arts journalism in South Africa. Its purpose and process has furthermore developed theoretical and methodological innovations which can enrich the field of journalism studies.
AFRIKAANSE OPSOMMING: Die studie -- vanuit 'n kritiese kulturele paradigma -- ondersoek die diskursiewe posisionering en rol van kunsjoernalistiek by Die Burger gedurende 'n periode van radikale transformasie in die Suid-Afrikaanse samelewing. Kunsjoernaliste word beskryf as vervaardigers van kulturele kapitaal, soos gekonsepsualiseer deur Pierre Bourdieu in sy omvattende raamwerk van veldteorie. Terwyl Bourdieu die term kulturele kapitaal hoofsaaklik gebruik om die rol van opvoeding en kultuur in die behoud van hierargieë van elite-mag te beskryf, ondersoek hierdie studie hoe die aard van kulturele kapitaal by Die Burger beïnvloed is deur magsverskuiwings waarin mededingende post-apartheid elite-groepe mekaar die stryd aangesê het. Deur gebruik te maak van Michel Foucault se teorie van diskoers, val die fokus van navorsing dus op die diskursiewe posisionering van kunsjoernaliste in hul dekking van kuns-en-kultuurgebeure in the 1990’s. Die argument is dat kunsjoernalistiek by Die Burger binne magsnetwerke geplaas kan word en bygedra het tot die strukturering van die post-apartheid samelewing. In Antonio Gramsci se terme het kunsjoernaliste dus betrokke geraak in die stryd om hegemonie te skep en teen te werk. Uitvloeiend uit hierdie teoretiese vertrekpunte word kritiese diskoersanalise (KDA) as navorsingsmetode vir die ontleding van joernalistieke tekste geïdentifiseer. Daarvolgens word 'n model met vyf stappe, voorgestel deur Teun van Dijk as deel van sy KDA-benadering, aangepas vir gebruik. Die analise fokus dus om die beurt op die konteks van diskoers, die diskursiewe stryd tussen kunsjoernaliste en politieke joernaliste, strategieë van klassifikasie wat kunsjoernaliste gebruik het, temas van diskoers wat aan die lig gekom het in kunsjoernalistiek, en hoe die seleksie en aanbieding van kuns-en-kultuur-nuus deur verskillende faktore beïnvloed is, insluitend deur die persoonlike agtergrond en ondervinding van kunsjoernaliste (“habitus” in Bourdieu se teorie). Om triangulasie te bewerkstelling en die teks-analise te ondersteun, is semi-gestruktureerde in-diepte onderhoude met prominente kunsjoernaliste aangelê. Die studie het vasgestel dat kunsjoernaliste in post-apartheid diskoerse in die koerant hulself op 'n kruispunt van verskillende, soms uiteenlopende en selfs opponerende strominge van mag bevind het. Aan die een kant het sommige kunsjoernaliste 'n tradisie van redaksionele onafhanklikheid omarm en soms opposisionele politieke diskoerse in vergelyking met die amptelike beleid van die koerant geskep, byvoorbeeld oor die kwessie van beweerde “kollektiewe skuld” vir Afrikaners en of Naspers voor die Waarheid-en- Versoeniningskommissie (WVK) moes verskyn om sy rol as ondersteuner van die Nasionale Party (NP) gedurende apartheid te verduidelik. Maar aan die ander kant het talle kunsjoernaliste die redakteur se klaarblyklike afkeer gedeel aan die internasionale kultuurboikot wat deur die ANC ondersteun is. Kunsjoernaliste was ook skepties oor die sogenaamde Afrikanisering van die samelewing en gevolglike aanvalle op Eurosentriese kuns. Ten slotte maak hierdie studie -- die eerste op hierdie vlak oor Afrikaanse kunsjoernalistiek sedert 1994 -- 'n belangrike bydrae tot die yl kennisveld van kunsjoernalistiek in Suid-Afrika. In die proses het die studie ook teoretiese en metodologiese innovasies aangebring wat die veld van joernalistiek-studies kan verryk.

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Resmann, Brittany. "The Games Must Go On: The Struggle Between Internationalism and Nationalism in Modern Olympic Movement". Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/989.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Political Science

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14

De, Kock-Wiesener Cornelia. "Teken, landskap en kennis : 'n ondersoek na die rol van teken in Suid-Afrikaanse kuns". Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53613.

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Abstract (sommario):

Thesis (MA)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: This thesis explores the role played by drawings in the creation of knowledge. The study specifically focuses on drawings of the South African landscape and how it led to knowledge of our country. The Western perception of the concept of nature in relation to culture or civilisation is investigated by brief reference to a few periods in Western history. It is argued that man and nature was separated in Western thought by the establishment of rational thinking. This concept led to man's exploitation of nature to his own advantage. The division between man and nature was broadened in the quest for technological advancement. The first European travellers came to South Africa with a Western mind set, hoping for better economical conditions. The illustrated traveller's report reflects the verbal and visual capturing and exploitation of the South African landscape. It is further argued that European travellers tried to structure the landscape according to Western aesthetical traditions. Drawings appear to be picturesque but have radical political, economical and social implications. Colonial depictions created knowledge, but in fact symbolically legitimise the expansion of power. Until the middle of the twentieth century Western aesthetic traditions were applied to visual depictions of the South African landscape. During this period, artists were uncritical of the oppressive political system and in doing so gave their tacit consent. Ever since the middle of the twentieth century, several artists voiced their opinions against the unfair policy of the ruling political party. Visual images asked subtle questions and gave radical judgements; thus knowledge was created and a contribution made to the freedom of all South Africans. My drawings of South African landscapes are to be understood against this theoretical background. I use drawings to ask questions about the relationship between the visual image and the establishment of knowledge. I also refer to the relationship between the original and the copy, reality, the photo and the drawing. I conclude the following: drawings lead to the creation of knowledge and landscape depictions have implications of power. The solution to this problem lies, in the end, once more III drawings.My depictions of South African landscapes are given as an answer.
AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoek na die rol wat visuele beelde kan speel in die oordrag van idees. Daar word spesifiek gekyk na hoe tekeninge van die Suid-Afrikaanse landskap gelei het tot die totstandkoming van kennis oor ons land. Die Westerse verstaan van die begrip natuur in verhouding tot kultuur of beskawing word ondersoek deur kortliks te verwys na 'n paar periodes gedurende die Westerse geskiedenis. Daar word aangevoer dat Westerse denke die mens en die natuur van mekaar geskei het deur die instelling van rasionele denke. So het daar 'n geloof in menslike rede ontstaan. Dié beskouing het daartoe gelei dat die mens die natuur begin uitbuit het tot eie voordeel. Die kloof tussen mens en natuur het al hoe dieper geword in 'n strewe na tegnologiese vooruitgang. Die eerste Europese reisigers het vanuit 'n Westerse verwysingsraamwerk na Suid-Afrika gekom met die hoop op beter ekonomiese vooruitsigte. Die geïllustreerde reisverslag weerspieël die inneming en uitbuiting van die Suid-Afrikaanse landskap visueel en verbaal. Daar word aangevoer dat Europese reisigers die landskap deur middel van tekeninge, uitgevoer volgens Westerse estetiese tradisies, probeer struktureer het. Tekeninge kom skilderagtig voor, maar het radikale politiese, ekonomiese en sosiale implikasies. Koloniale tekeninge het kennis geskep en in werklikheid magsuitbreiding simbolies gelegitimeer. Westerse estetiese tradisies is tot die middel van die twintigste eeu toegepas op visuele uitbeeldings van die Suid-Afrikaanse landskap. Gedurende dié tydperk het kunstenaars die onderdrukkende, heersende politieke stelsel in werklikheid ondersteun deur totaalonkrities daarteenoor te staan. Teen die middel van die twintigste eeu het verskillende kunstenaars in opstand gekom teen die onregverdige beleid van die regerende party. Visuele beelde is gebruik om subtiele vrae te stel sowel as radikale uitsprake te lewer en het so kennis geskep en bygedra tot die bevryding van alle Suid- Afrikaners. My tekeninge van Suid-Afrikaanse landskappe moet teen dié teoretiese agtergrond gelees word. Ek gebruik teken om vrae steloor die verhouding tussen die visuele beeld en kennis wat so tot stand kom. Daar word verwys na die verhouding tussen oorspronklike en kopie, werklikheid, foto en tekening. Die gevolgtrekking is dat tekeninge kan lei tot die totstandkoming van kennis en dat uitbeeldings van landskappe magsimplikasies kan hê. Die oplossing vir hierdie probleem lê uiteindelik weer in tekeninge. My uitbeeldings van Suid-Afrikaanse landskappe word as antwoord gebied.

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15

Purnomo, Setianingsih. "The voice of muted people in modern Indonesian art". Thesis, View thesis, 1995. http://handle.uws.edu.au:8081/1959.7/661.

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This research into Indonesian socialist-realism art, examines how art has shaped the political and social environments of the new order government. This text examines contemporary artists’ attitudes toward social commitment and social commentary during the period 1980-1995. Conflicting views of contemporary Indonesian artists were obtained from research undertaken in Indonesia in 1995. In this thesis, the problem is raised that Indonesian socialist-realism art is not only a style of art for contemporary Indonesian artists, but also as a union of artists’ attitudes towards Indonesian society. This argument is used to further understand modern Indonesian art from the ‘inner’ point of view

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16

Carrasco, Clare. "The Most Expressionist of All the Arts: Programs, Politics, and Performance in Critical Discourse about Music and Expressionism, c.1918-1923". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862862/.

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This dissertation investigates how German-language critics articulated and publicly negotiated ideas about music and expressionism in the first five years after World War I. A close reading of largely unexplored primary sources reveals that "musical expressionism" was originally conceived as an intrinsically musical matter rather than as a stylistic analog to expressionism in other art forms, and thus as especially relevant to purely instrumental rather than vocal and stage genres. By focusing on critical reception of an unlikely group of instrumental chamber works, I elucidate how the acts of performing, listening to, and evaluating "expressionist" music were enmeshed in the complexities of a politicized public concert life in the immediate postwar period. The opening chapters establish broad music-aesthetic and sociopolitical contexts for critics' postwar discussions of "musical expressionism." After the first, introductory chapter, Chapter 2 traces how art and literary critics came to position music as the most expressionist of the arts based on nineteenth-century ideas about the apparently unique ontology of music. Chapter 3 considers how this conception of expressionism led progressive-minded music critics to interpret expressionist music as the next step in the historical development of absolute music. These critics strategically—and controversially—portrayed Schoenberg's "atonal" polyphony as a legitimate revival of "linear" polyphony in fugues by Bach and late Beethoven. Chapter 4 then situates critical debates about the musical and cultural value of expressionism within broader struggles to construct narratives that would explain Germany's traumatic defeat in the Great War and abrupt restructuring as a fragile democratic republic. Against this backdrop, the later chapters explore critics' responses to public performances of specific "expressionist" chamber works. Chapter 5 traces reactions to a provocative performance of Schoenberg's Chamber Symphony, op. 9 (1906) at the Berlin Volksbühne in February 1920. Chapter 6 examines the interplay of musical-aesthetic and sociopolitical issues in critical reception of several postwar concerts that juxtaposed Schoenberg's "expressionist" Chamber Symphony with Franz Schreker's "impressionist" Chamber Symphony (1916). Chapter 7 considers how critics situated performances of Alexander Zemlinsky's Second String Quartet, op. 15 (1916) in relation to ideas about "expressionism" in music. Finally, Chapter 8 considers critical reception of performances of Béla Bartók's Second String Quartet, op. 17 (1917) in the context of two concert series sponsored by "expressionist" journals: the Anbruch-Abende in Vienna (1918) and the Melos-Abende in Berlin (1922 and 1923). Each of these final chapters uses contemporary criticism as a vehicle for a close reading of the relevant musical work, resulting in a portrait of "expressionist" music that is both contextually and musically nuanced.

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17

Chen, Fangyu. "The post-2000 Hong Kong film workers". HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/751.

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This thesis is an interdisciplinary study that traces the commerce-art-politics nexus of Hong Kong cinema since the new millennium, through investigating the current young generation of film workers who joined the industry as it gradually entered an era marked by the domination of Hong Kong/Mainland co-productions. It reveals the filmmaking ideologies of emerging filmmakers from both within and beyond their film texts, and uncovers the artistic and ideological discrepancies between this young generation and their predecessors - the established generation who contributed to the glory days of Hong Kong cinema during its economic boom. By tracing the studies of national cinema and transnational cinema in the last three decades, I debunk the national/transnational antagonism with the case of the post-2000 Hong Kong cinema. It does not only prove that the binary is far more complicated than one being superseded by the other, or them coexisting with each other, but rather evolving into each other from a historical perspective. In this vein, the current Hong Kong cinema has split into two: a transnational cinema represented by the established generation of filmmakers; and a national cinema that is driven by the emerging generation who struggle for better preservation of Hong Kong local culture and their own cultural identities. Furthermore, this thesis scrutinizes the working and material conditions of these young film practitioners, in which employment and economic opportunity are primarily derived from co-productions and mainland productions. It expands the discussion over the concept of precarity and argues that the Hong Kong case demonstrates two extra dimensions of labour precarity: an excessive reliance on an external market (i.e. mainland market), and the workers' dissenting political attitudes towards a politically sensitive regime, namely mainland China under the ruling of the Communist Party. Lastly, developments in Hong Kong film policy since the handover are examined. As its longstanding managing philosophy of "minimal intervention" has largely remained unchanged in Hong Kong, the government has turned from a "laissez-faire" approach to what Mark Purcell terms an "aidez-faire" approach in the local film industry, yet it still failed to meet the industry's expectations of creating a holistic film policy. Nevertheless, film policy in the post-handover era had an undeniable impact in terms of cultivating young filmmakers. To research the topic, 47 in-depth interviews were conducted. These first-hand interviews, combined with data gathered from multiple resources, as well as a text analysis of the 107 films made by young directors between 2000 and 2018, form the factual basis of this thesis. Employing a Hong Kong/Mainland Film dynamics perspective, this study aims to fill a gap in the academic study of Hong Kong cinema, which has paid scant attention to the material conditions and artistic visions of craft labour in the industry, and especially of the young generation of filmmakers who are facing the decline of a once prosperous but currently diminishing local film industry.

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18

Morelos, Ronaldo. "Symbols and power in the theatre of the oppressed". Thesis, Queensland University of Technology, 1999.

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Augusto Boal developed Theatre of the Oppressed as a way of using the symbolic language of the dramatic arts in the examination of power relations in both the personal and social contexts. Boal understood that symbolic realities directly influence empirical reality and that drama, as an art form that employs the narrative and the event, serves as a powerful interface between symbols and actuality. In the dramatic process, the creation and the environment from which it emerges are inevitably transformed in the process of enactment. These transformations manifest in the context of power relations - in the context of the receptor's ability to make decisions and to engage in actions, and the communicator's ability to influence the receptor's opinions and behaviour. This thesis will examine two different practices in which symbolic realities have been utilised in the context of human relations of power. Primarily, this thesis examines the theory and practice of Theatre of the Oppressed as it has developed. Additional(v, Theatre of the Oppressed will be examined in comparison with another body of theory and practice - one grounded in the martial and political fields. The similarities and differences between the two practices will be used as a way of elaborating upon the objectives and methods of Theatre of the Oppressed, and as a way of examining the overall practice of 'cultural activism'. This thesis will look at the work of Augusto Boal from 1965 to 1998, and the body of his work known as Theatre of the Oppressed. Also examined will be the work of Edward Geary Lansdale from 1950 to 1983, chiefly his work in the Philippines and Vietnam. One is a theatre worker, a writer, director, theorist and politician. The other retired as a major general in the US Air Force, a renowned intelligence operative and expert. This thesis will argue that they are working in the same field, albeit at different points in spectrums of material resources and ideology. They are both cultural activists. This thesis will examine the way these two practitioners have used the narrative and the event, the myth and the ritual, to colour the canvas of cultures. Cultural activism is the orchestration of narratives and events. Cultural activists work with the symbolic in order to influence the actual.

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19

Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art". Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.

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20

Mouzakis-Neolis, Fotis. "Empirical and theoretical aspects of the international arms trade". Thesis, University of Surrey, 1999. http://epubs.surrey.ac.uk/2148/.

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21

Oliveira, Mariana Bueno de. ""Tenho gatilhos e tambores" : impasses estéticos e engajamento político nas canções de Sérgio Ricardo (1958 - 1967) /". Marília, 2018. http://hdl.handle.net/11449/157168.

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Orientador: Marcelo Augusto Totti
Banca: Rodrigo Czajka
Banca: Thaís Regina Pavez
Resumo: A presente pesquisa aborda o engajamento da bossa nova por meio da análise da obra fonográfica de Sérgio Ricardo, momento de impasses de uma geração de artistas que se debateu no limiar do engajamento artístico, da politização das artes e da emergência de uma indústria cultural no Brasil. Temos no período um projeto desenvolvimentista que contempla grande parte da classe média no Brasil, dessa mesma classe média surge um grupo de artistas e intelectuais que estão completamente relacionados com uma dimensão ideológica e política produzida em décadas anteriores, anos 1920, 1930 e 1940 (como o modernismo cultural, literatura regional, etc.) e usam da arte para tematizar questões que a política não consegue resolver. Sérgio Ricardo é um desses artistas que se sensibilizam com essas questões da realidade nacional, dos problemas da desigualdade social, da pobreza, mas eles não são oriundos dessa classe pela qual se sensibilizam. Demonstraremos como a obra de Sérgio Ricardo reflete, concomitantemente, uma síntese e um desajuste fecundo no processo de politização da arte e do artista na passagem das décadas de 1950 e 1960, tendo como referência a questão do nacional-popular e o engajamento de intelectuais e artistas contra a ditadura militar instaurada em 1964. Sérgio Ricardo demonstra através de suas canções que é possível assumir a vertente da bossa nova Nacionalista sem abandonar as formalidades estéticas da bossa nova Intimista. Aproximou-se dos músicos populares, mas nunca negou... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research addresses the engagement of bossa nova by recording work of Sergio Ricardo's analysis, deadlocks time of a generation of artists who struggled on the threshold of artistic engagement, the politicization of the arts and the emergence of a cultural industry in Brazil. In this period we have a developmentalist project that contemplates a large part of the middle class in Brazil, from the same middle class a group of artists and intellectuals who are completely related to an ideological and political dimension produced in previous decades, 1920s, 1930s and 1940s cultural modernism, regional literature, etc.) and use art to thematize issues that politics can not solve. Sérgio Ricardo is one of those artists who are sensitive to these issues of the national reality, the problems of social inequality and poverty, but they do not come from this class by which they are sensitized. We will demonstrate how Sérgio Ricardo's work reflects, simultaneously, a fruitful synthesis and mismatch in the process of politicizing art and the artist in the 1950s and 1960s, with reference to the national-popular issue and the engagement of intellectuals and artists. Artists against the military dictatorship established in 1964. Sérgio Ricardo demonstrates through his songs that it is possible to take on the bossa nova Nacionalista side without abandoning the aesthetic formalities of bossa nova Intimista. He approached the popular musicians, but never denied the influence of jazz or class... (Complete abstract click electronic access below)
Mestre

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22

Hayaud-Din, Mian Ahad. "U.S. Foreign Policy in Islamic South Asia: Realism, Culture, and Policy Toward Pakistan and Afghanistan". [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000074.

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23

Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.

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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.

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24

Samwanda, Biggie. "Postcolonial monuments and public sculpture in Zimbabwe". Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006825.

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The study critically examines public art in postcolonial Zimbabwe‘s cities of Harare and Bulawayo. In a case by case approach, I analyse the National Heroes Acre and Old Bulawayo monuments, and three contemporary sculptures – Dominic Benhura‘s Leapfrog (1993) and Adam Madebe‘s Ploughman (1987) and Looking into the future (1985). I used a qualitative research methodology to collect and analyse data. My research design utilised in-depth interviews, observation, content and document analysis, and photography to gather nuanced data and these methods ensured that data collected is validated and/or triangulated. I argue that in Zimbabwe, monuments and public sculpture serve as the necessary interface of the visual, cultural and political discourse of a postcolonial nation that is constantly in transition and dialogue with the everyday realities of trying to understand and construct a national identity from a nest of sub-cultures. I further argue that monuments and public sculpture in Zimbabwe abound with political imperatives given that, as visual artefacts that interlace with ritual performance, they are conscious creations of society and are therefore constitutive of that society‘s heritage and social memory. Since independence in 1980, monuments and public sculpture have helped to open up discursive space and dialogue on national issues and myths. Such discursive spaces and dialogues, I also argue, have been particularly animated from the late 1990s to the present, a period in which the nation has engaged in self-introspection in the face of socio-political change and challenges in the continual process of imagining the Zimbabwean nation. Little research focusing on postcolonial public art in Zimbabwe has hitherto been undertaken. This study addresses gaps in this literature while also providing a spring board from which future studies may emerge.
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25

Fouche, Pierre. "The distance between us : strategizing a queer, artistic, personal and social politic". Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/2137.

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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006.
This thesis considers radical and reactionary political strategies for questioning systems of gender/sexuality categorisation and finds both wanting in terms of the cultural insularity and mainstream assimilation each respectively engenders. An alternative is posited in the form of radical assimilation, a theory borrowing the best elements from both approaches. The remainder of the study is focussed on the search for personal and iconographic strategies to pursue a politic of radical assimilation in my creative production. These strategies are finally exemplified and manifested via discussions of the practical corpus of artworks that aided in the formation of this politic. The discursive framework in which this theorization occurs includes considerations of queer theory and photography (especially domestic photography and portraiture) and subjective contextualization (invoking the domestic uses of images), and all should be seen as constituting a personal discursive framework: an attempt to counter the reductive scope an uncontextualised analysis of my work allows. This study is accordingly an explication of the processes that turn the personal into the political; a critical affirmation of difference; and an attempt to narrow the distances between us.

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Rodrigues, Carolina Cantarino 1977. "Entre corpos, tempos e sujeitos = ciências, políticas e artes improvisando identidades". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281012.

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Orientador: Suely Kofes
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-18T04:09:55Z (GMT). No. of bitstreams: 1 Rodrigues_CarolinaCantarino_D.pdf: 1843354 bytes, checksum: 031f4fba100c91c59658e4cf7d56f968 (MD5) Previous issue date: 2011
Resumo: A proposta dessa tese é pensar a ciência e a arte em suas criações de políticas que se efetuam por entre corpos, tempos e sujeitos. A ciência será discutida através do modo como ela mobiliza e é mobilizada numa política de identidades, tomando-se como horizonte o tema da raça e do racismo no Brasil, e as estratégias adotadas no jogo de forças que colocam esse tema sob disputa. Nela, uma identidade negra, arquitetada através de evidências científicas, será acionada na denúncia e combate às desigualdades. A reação virá na figura de um Homo brasilis que torna a miscigenação, através de mapeamentos genéticos, a natureza da sociedade brasileira à qual somente os cientistas teriam acesso. Uma estratégia de despolitização da disputa. O pressuposto será o de que, a despeito dessas controvérsias, todos estão a se emaranhar enquanto linhas de um dispositivo pele-rosto-DNA marcado pela cientificidade, identificação e por uma política da representação que toma o corpo como realidade orgânica e visível a ser usado como parâmetro de julgamento e testemunho da autenticidade das identidades. Será possível operar uma resistência política desde dentro do dispositivo? Saíremos dele, então, para, com a arte, montar um outro jogo. O conceito de "romance histórico" criado pela literatura de Toni Morrison será explorado, em suas propostas de tensão entre o real e a ficção que problematizam a representação e a noção de autenticidade e testemunho. Por sua vez, as canções e o universo da música serão levados à sério como resistência política que abre mão da identificação. A literatura e a música serão convocadas para rachar os conceitos de representação, história, verdade, política, identidade e diferença, esvaziando-os dos sentidos que o dispositivo pele-rosto-DNA insiste em lhes fixar. Ciência e Arte serão tomadas enquanto duas políticas distintas e reunidas, nas condições criadas por essa tese, para pensar, de modo mais geral, a relação entre a linguagem e a vida
Abstract: This dissertation concerns the ways that science and art are responsible for the creation of politics that have an effect on bodies, times and subjects. Science is discussed in so much as it mobilizes and is mobilized in a politics of identity, taking as a point of departure the topic of race and racism in Brazil; and the strategies adopted by the forces of power responsible for putting these topics under dispute. Within science, a black identity, is constructed with scientific evidence, which is then used in an effort to denounce and combat inequality. A reaction will come on the configuration of a Homo brasilis which becomes miscegenated, by way of genetically mapping the nature of Brazilian society and giving only scientists access. This strategy is also used to depoliticize the debate. This work proposes that in spite of these controversies, everyone is becoming entangled along lines of a skin-face- DNA apparatus which is being determined by scientific theories, identities and by a politics of representation, which assume that the body is an organic and visible reality that should be used as the parameter of judgment and the means for certifying the authenticity of identities. Is it possible to operate a political resistance from within skin-face-DNA apparatus? Moving away from a scientific perspective, this work will use art as yet another force. The concept of "historical romance," such as that used in the literature of Toni Morrison, will be explored because it proposes a tension between that which is real and that which is fiction, allowing us to problematize the representation and the notion of authenticity and certification. Furthermore, song and the universe of music will be taken into consideration as a form of political resistance that cut identification. Literature and music will be evoked as a way of breaking open the concepts of representation, history, truth, politics, identity and difference, emptying them of the fixed meanings that the skin-face-DNA apparatus tries to prescribe them with. In order to think in a more general way about the relationship between language and life, this thesis creates conditions in which science and art will be seen as two forms of politics that are both distinct and connected
Doutorado
Ciências Sociais, Antropologia da Ciência e Antropologia Afro-Brasileira
Doutor em Ciências Sociais

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Younge, James Gavin Forrest. "The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953". Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/16370.

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Bibliography: pages 232-240.
This dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. The ensuing growth in prestige and influence of left-wing artist's organisations was countered by a campaign which included direct suppression of left-wing artists as well as a form of ideological control. This control was vested in what has been called the specifics of patronage and is reflected in the establishment of the Arts Council in Britain and the private art museums in the United States. Changes in the art market have meant that, together with dealers and critics, these institutions wielded almost complete economic control over artists. The prevailing ideology of liberal humanism, which glorified individualism and defined democracy as a middle ground between the left and the right, favoured the development of a seemingly apolitical abstract art style. Analysis of the demise of the Artists International Association and the American Artist's Congress supports the conclusion that the figurative tradition lost prestige as a result of the stigma attached to Socialist Realism and the idealised realism demanded by National Socialism in Germany. Account is also taken of the attempt by well-positioned and influential commentators to identify all forms of realism with totalitarianism. It is not surprising therefore, that it was commonly believed that to paint in an abstract modern style was to strike a blow against fascism. In the same way that realism was identified with the regimentation of Soviet society, the avant-gardes' abstract experiments came to symbolize democracy. Drawing on the texts of writers, critics, artists and theorists, this dissertation shows that the force of the identification of progressive realism with totalitarianism, prepared the way for acceptance of the idea that freedom of expression epitomised freedom in general. In this way, anti-Stalinism and the post-war liberal philosophy of individual freedom, coupled with a search for 'essences' and the 'universal', directed artists inward to the medium of art as relevant subject-matter. This dissertation argues that this identification was ideologically motivated in respect to the balance of social and political power in America.

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Khwela, Gcwelumusa Chrysostomus. "Challenges of arms transfers facing the emerging supplier states in the new international political economy". Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53324.

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Abstract (sommario):

Thesis (MMil)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: The fundamental motivation for emerging arms suppliers to produce arms was the desire to overcome their position of dependence in the system of arms production and transfers. However, their predicament as late entrants into the system castigated them to fail in this endeavour. This failure is based on three criteria, which also assist in the identification of emerging suppliers. Firstly, the weaponry they produce is far below the sophistication characterised by higher levels of technological advancement. Secondly, they can only produce one or two advanced weapon systems. Finally, they rely on the leading suppliers for certain sophisticated components of weapon systems which they cannot produce themselves and as a result, become so dependent that they, with an exception of a few, are unable to go beyond the simple reproduction or retrofitting of existing weapon systems. The capability to produce arms was restrictedly extended to certain states in the post-war era, and even those states that obtained such a capability were confmed to producing small arms and platforms for naval vessels. Those states that went beyond these capabilities did so with the assistance of other states or specialists, the initial intention being to meet domestic requirements, and ultimately to dispose surplus Second World War equipment in the re-transfer market. The emerging supplier states' intention to develop indigenous arms industries was driven by the political urge to reduce their reliance on the leading suppliers and to nationalise the arms production process for import substitution in order to meet domestic security needs. Since the emerging suppliers began the process of defence industrialisation from the importation of complete weapon systems to import substitution, and ultimately to the promotion of exports, they mainly relied on technology imported from the leading suppliers. On the one hand, the leading suppliers attempted to hinder the efforts of emerging suppliers to promote arms exports so as to protect their oligopolistic share of the arms market through tightening the controls and regulations on technological supplies. On the other, the emerging suppliers were impelled to promote their arms exports in order to overcome the saturation of their domestic markets, to utilise effectively their arms production capacities, and to positively affect their balance of payments through the procreation of foreign exchange returns. This study reached the following conclusions and inferences: 1. The arms trade has evolved to be characterised by the transfer of military technology, which did not feature in the arms transactions of the previous periods. 2. The gap between the leading and emerging suppliers is widening with regard to the sophistication of technological capabilities, and accordingly the stratification within the arms production and transfer system is sustainable and reinforced, thus making it hard for the lower tiers to progress beyond their current status. 3. The emerging suppliers' share of and contribution into the arms market is constricted, and as such they specialise in specific (often uncomplicated) weapon systems that constitute niches in the global market. 4. The unfolding arms production and transfer system is characterised by a fiercely competitive atmosphere, and consequently, only those states that can subsidise or integrate their efforts are enabled to sustain an advanced arms production faculty. 5. As the emerging suppliers begin to introduce more and more of their wares into the market, the costs of research and development begin to soar in the same manner as those of the leading suppliers, thus urging them to become more export-oriented. 6. Participants in the system will be compelled to relinquish their comparative technological superiority in order to survive, thus narrowing the gap between the capabilities possessed by both the leading and the emerging suppliers.
AFRIKAANSE OPSOMMING: Die onderliggende motivering van opkomende wapenverskaffers om wapens te produseer word toegeskryf aan 'n behoefte om hulle relatiewe afhanklikheid in die stelsel van wapenproduksie en - handel te oorkom. Boonop het die laat toetrede tot die stelsel hierdie opkomende verskaffers se kanse tot sukses verder belemmer. Die rede vir die onsuksesvolle toetrede word gebasseer op drie kriteria (wat ook dien as identifiserende eienskappe van opkomende wapenverskaffers). Eerstens, die wapens wat opkomende verskaffers lewer skiet tekort aan die vereiste gesofistikeerde standaarde van die gevestigde wapenprodusente. Tweedens, hulle kan slegs een of twee gevorderde wapenstelsels produseer. Derdens, sekere komponente van wapenstelsels word verkry by die gevestigde verskaffers, wat lei tot afhanklikheid tot so 'n mate dat die opkomende verskaffer se vermoëns beperk word tot eenvoudige reprodusering of herinstallasies van bestaande stelsels. Trouens, in die post-oorlog tydperk is die vermoë om wapens te produseer doelbewus beperk tot sekere state wat 'n afgebakende reeks van handwapens en uitrusting vir vloot vaartuie kon vervaardig. State wat verby hierdie vermoë beweeg het, het dit gedoen met behulp van ander state of spesaliste, oorspronklik met die oog op die huishoudelike behoefte maar ook om ontslae te raak van surplusse uit die Tweede Wêreldoorlog. 'n Politieke begeerte om in hulle eie sekuriteitsbehoeftes te voorsien deur middel van invoersubstitusie, het die opkomende verskaffers genoop om ontslae te raak van die afhanklikheid op gevestigde verskaffers en om die wapenproduseringsproses te nasionaliseer. Hulle het hoofsaaklik gesteun op ingevoerde tegnologie om die verdedigingsbedryf te industrialiseer. Die proses het so verloop: volledige wapenstelsels is ingevoer, daarna het invoersubstitusie plaasgevind, en daarna 'n bevordering van uitvoere. Gevestigde verskaffers het endersyds probeer om (deur middel van strenger kontrole en regulasies of tegnologiese ware) die opkomende verskaffers te verhoed om hulle oligopolistiese houvas op die mark te belemmer en andersyds moes opkomende verskaffers noodgedwonge hulle uitvoere bevorder om te voorkom dat die plaaslike mark versadig word. Die laasgenoemde aspek het ook die betalingsbalans van opkomende verskaffers positief beinvloed as gevolg van die inkomste uit buitelandse valuta. Hierdie studie kom tot die volgende aanames en gevolgtrekkings: 1. Wapenhandel het só ontwikkel dat die oordrag van militêre tegnologie die hoofkenmerk geword het in die stelsel - 'n ongekende kenmerk tot dusver in die ontwikkelingsgang van internasionale wapenhandel. 2. Die gaping van tegnologiese vermoëns tussen opkomende en gevestigde wapenverskaffers word groter en daarmee saam word die stratifikasie in wapenproduksie en -lewering volhoubaar en versterk, wat lei tot 'n beperking op die vermoë van opkomende verskaffers om vooruitgang te maak. 3. Opkomende verskaffers se aandeel in en bydrae tot wapenmarkte bly beperk en spesialiseer daarom op spesifieke (meestalongekompliseerde) wapenstelsels wat gemik is op sekere nisse in die wêreldmark. 4. Die ontluikende wapenproduksie en -handelsisteem is uiters kompeterend, met die gevolg dat slegs state wat hulle pogings kan subsidieer of integreer in staat is om gevorderde fasiliteite te onderhou. 5. Met die toenemende aanbod vanaf opkomende verskaffers, styg die kostes van navorsing en ontwikkeling vir beide die opkomende en die gevestigde verskaffer wat weer beide dwing om hulle uitvoere te beklemtoon. 6. Deelnemers in die stelsel sal gedwing word om hulle vergelykende tegnologiese voorsprong prys te gee om te oorleef in die stelsel, waarna die gaping tussen die vermoëns van opkomende en gevestigde verskaffers verminder sal word.

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29

Vilas, Boas Alexandre Gomes [UNESP]. "Artivismo: Arte + Política + Ativismo: sistemas híbridos em ação". Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/128178.

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Esta dissertação apresenta o estudo e a problematização da produção plástica deste artista-pesquisador, oferecendo ao leitor, um fio condutor que percorre o caminho entre as origens e os desdobramentos do que se convencionou chamar de arte ativista, engajada, ou arte política. A reflexão sobre este processo e sua trajetória, são fatores determinantes para entender a configuração de sua poética como a de um artista ativista, evidenciando os aspectos relacionais às questões materiais e processuais. Consideramos neste sentido, a interação entre suas obras anteriores, que transitam entre o universo da arte postal e do livro de artista, até o seu ingresso na academia e a transformação daí ocorrida através da potencialização de sua metodologia de trabalho. A interação proporcionada pela pesquisa modificou a hipótese inicial, a tal ponto, de gerar mudanças significativas na estrutura deste trabalho. A partir das ações vivenciadas, foi possível identificar poéticas que fazem uso de sistemas híbridos de produção. A construção de trabalhos sob estas premissas corroboraram e direcionaram para que tenhamos como perspectiva, o aprofundamento de questões relativas às metodologias colaborativas, onde os problemas relacionados à matéria sugerem procedimentos autônomos e independentes; ora individuais, ora colaborativos; de interação e não lineares; envolvidos por fatores não necessariamente pertencentes ao universo plástico, constituindo-se em processos essencialmente híbridos, múltiplos, tanto sob a ótica do cruzamento de sistemas, quanto da relação de produção material entre diferentes áreas de conhecimento.
This work presents the study and the questioning of plastic production of this artistresearcher, offering the reader, a common thread that runs through the path between the origins and developments of the so-called activist art, engaged, or political art. Reflection on this process and its history, are key factors to understand the configuration of his poetic as that of an activist artist, showing the relational aspects to substantive and procedural issues. We consider in this regard, the interaction between his earlier works, traveling through the world of mail art and the artist book, until his admission to the academy and the transformation that took place there through the enhancement of its working methods. The interaction provided by the research changed the initial hypothesis, to the point of generating significant changes in the structure of this work. From the experienced actions, were identified poetic that make use of hybrid production systems. The construction work under these corroborated and directed premises so that we have as perspective, the deepening of issues related to collaborative methodologies, where problems related to the matter suggest autonomous and independent procedures; sometimes individual, sometimes collaborative; and nonlinear interaction; surrounded by factors not necessarily belonging to the plastic universe, thus becoming essentially hybrid processes, multiple, both from the perspective of systems crossing, as the ratio of production material between different areas of knowledge

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30

Bassas, Assumpta. "La trayectoria de tres artistas en el pasaje del conceptualismo en Cataluña: Silvia Gubern, Àngels Ribé y Eulàlia". Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/387112.

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Este trabajo de investigación reconstruye y comenta la trayectoria artística de Silvia Gubern, Àngels Ribé y Eulàlia (Grau Donada), principalmente en la etapa de las llamadas “prácticas conceptuales”, a partir de fuentes primeras y documentales e introduciendo la voz y el relato de las artistas. Estas tres monografías incorporan también la recepción crítica y la valoración de la prensa especializada. La autora propone lecturas y reflexiones de estas prácticas artísticas y de la concepción de la creatividad de las artistas, vinculándolas a partir de las orientaciones que asume como guías teóricas del pensamiento de la diferencia sexual sobre la libertad de las mujeres en los 60 y 70. Mas allá de los marcos interpretativos “neutrales” que se ha utilizado para clasificar a estas artistas como conceptuales en la historia “modernista” del arte catalán y español, este trabajo de investigación pone las bases para leerlas a partir de genealogías de la creación y la creatividad orientadas por la sexuación del conocimiento en femenino.
This research builds and discusses the artistic career of Silvia Gubern, Àngels Ribé and Eulàlia (Grau), mainly in the stage called "conceptual practices" from documentary sources and introducing the voice of the artists and biographic facts. These three monographs also incorporate critical reception and evaluation of the press and the art critics. The author points out the importance of reading those careers taking into account the perspective of the Italian and Spanish feminism of sexual difference. Beyond the "neutral" interpretive framework that has been used to classify them as conceptual artists in the modernist history of catalan avantgarde art, this thesis lays the foundation for reading women genealogies of creativity oriented by the female sexuation of knowledge and to explore women's freedom in history. Thus, conceptualism would not be a single framework to assess their contribution to the history of art. It is defined as a living moment in a much longer and complex creative itinerary, a stage in which many issues intersect, focusing on some core aspects such as sexual politics in the history of women in the 60s and 70s in Catalonia (Spain).

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31

Koekemoer, Carmen. "Political grey : areas of ambiguity and contradiction". Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013136.

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This Master of Fine Arts submission, consisting of a thesis titled ‘Political Grey: Areas of Ambiguity and Contradiction’ accompanied by an exhibition titled ‘Positions’, encompasses the concept of leadership while uncovering and expressing its ‘grey areas’ in a contemporary and undefined moment in South Africa. The concept of leadership has been complicated throughout the thesis in terms of how it is conceptualised in a traditional royal African art context as well as how Leader-Figures have been and are portrayed in both Western and African portrait genres. The notion that the new is built upon the old is continued throughout my thesis and is evident in the accompanying body of work. This notion is expressed on a number of levels: by the re-contextualisation of the print medium; the creative processes described as ‘postproduction’ which I use in my work; as well as that which is described as a ‘post-transitional’ moment. The recent political history of the country is considered, with reference made to the anti-apartheid movement and resistance art produced. Printmaking, viewed as an archetypal medium for resistance, is discussed, with reference made to its socio-political role during the 1980s as well as to the extent to which it continues to be used by contemporary artists in a different realm of conflict and change. This is demonstrated by the shift from the medium as a tool for protest to the medium as an instrument of political irony and pointed commentary.

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32

Garcia-Sheets, Maria. "An ideological criticism of David Duke's rhetoric of racism and exclusion". Scholarly Commons, 1999. https://scholarlycommons.pacific.edu/uop_etds/525.

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This study focuses on the rhetoric of racial politics and the ideology of exclusion it produces. This study analyzes the political rhetoric constructed by David Duke, white supremacist, disavowed neo-Nazi, Ku Klux Klan member, and former Louisiana State Representative. The topics of affirmative action, reverse discrimination, immigration, and welfare were chosen for analysis. Using ideological criticism, this study reveals the role Duke pays in America's increasingly exclusionary political environment. Specifically, this study uses the concepts employed by Louisa Martin Rojo in exploring the rhetorical process of demonization which is used to turn someone or something into an enemy. The process needed to demonize an enemy involves two rhetorical strategies: division and rejection. Division establishes the opposing categories in the conflict, manifesting itself as an arguments between "us verses them" or "good verses evil." Rejection further demonizes the enemy by rhetorically marginalizing, segregating, or creating a negative image about them. Through his rhetoric, Duke strives to provoke feelings of resentment by utilizing demonization to reject and divide whites from minorities. In his rhetoric, Duke excludes people of color from society by portraying affirmative action as minority special privilege, reverse discrimination as white exclusion, welfare as a bastion of illegitimacy, and immigration as the downfall of American culture. Attempting to exclude minorities from society, Duke moves beyond Rojo's concept of demonization and uses scapegoating to blame minorities for America's social ills. By using people of color as a scapegoat, Duke effectively excludes them from participating in the debate over social concerns.

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33

Pinto, Camila Antonino. "Entre arte(s) e poder(es)". Florianópolis, SC, 2008. http://repositorio.ufsc.br/xmlui/handle/123456789/91646.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas. Programa de Pós-Graduação em Antropologia Social.
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Esta dissertação investiga eventos ligados às comemorações dos 500 anos do Brasil, ocorridos no ano de 2.000: a festa de Porto Seguro, a Mostra do Redescobrimento e um dos módulos que a compôs, a exposição #Negro de Corpo e Alma#. A análise gira em torno da interface entre os campos da arte, da política e do poder, especialmente articulados no contexto comemorativo. Reflete-se, a partir da observação da (re) construção de narrativas, que contou com a inclusão ou exclusão de gêneros discursivos diversos (visuais, textuais e sonoros), sobre a atuação e a interação entre as diferentes instâncias presentes nos eventos: Estado, Imprensa, Intelectuais e Público. This dissertation investigates events related to Brazil#s 500 years celebrations, which happened in 2000: Porto Seguro party, Brazil Rediscovery Exhibition and one of its modules, #Black in body and Soul# Exposition. The analysis involves the interface among art, politics and power, specifically articulated in the celebration context. It is based on narrative re-construction, considering the inclusion and exclusion of several discursive genres (visual, textual and sonorous), about the acting and interaction between different instances in the events: State, Press, Intellectuals and Public.

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34

Brognoli, Ila da Silva. "Frida Kahlo". Florianópolis, SC, 2009. http://repositorio.ufsc.br/xmlui/handle/123456789/92682.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas. Programa de Pós-Graduação em História.
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A revolução ocorrida em princípios do século XX no México teve grande impacto sobre o país e a sua repercussão foi sentida em diversos campos sociais e culturais. Nesta dissertação me ocuparei sobretudo de abordar a transição ocorrida no meio artístico, uma vez que este também teve papel fundamental nas transformações por que passou o país a partir desse momento histórico, ocupando, concomitantemente, os espaços de sujeito e objeto da história. Identificando a artista plástica Frida Kahlo como uma intelectual engajada no cenário político em questão, utilizarei sua vida e sua obra para discutir a influência que o ambiente social exerce sobre o indivíduo, podendo modificar e/ou determinar suas atitudes em relação às transformações sociais que acompanha. Através de análises estéticas, artísticas e de contexto histórico de suas obras plásticas, de cartas e fragmentos de seu diário pessoal, procuro mostrar que a artista reconheceu ao longo de sua vida a necessidade de aliar arte e política, por identificar na sua própria prática o potencial transformador do fazer artístico, seja como forma de conscientização, seja como forma de contestação. Esta pesquisa visa também reforçar a necessidade de estudar-se cada vez mais os aspectos relativos à realidade latino-americana. The revolution that occurred at the beginning of the twentieth century in Mexico, had a major impact in the country and its impact was felt in several social and cultural fields. In this dissertation I will seek particularly to address the transition that occurred in the art context, as it also played a fundamental role in the transformations that the country went through from this historical moment, simultaneously acting like subject and object of history. By identifying the plastic artist Frida Kahlo as an intellectual engaged in the referred political scenario, I will use her life and work to discuss the influence that the social environment exerts over the individual, potentially modifying and/or determining his attitudes regarding social transformations that he witness. Through an aesthetic, artistic and historical context analysis of her paintings, fragments of letters and from her personal diary, I will show that the artist recognized throughout her life the need to combine art and politics, because she identified on her own practice the transforming potential of art making, whether as a form of consciousness, or as a contestation. This research also aims to reinforce the need to study ever more aspects of Latin American reality.

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35

Donelson, Sarah L. "Cries of agony : a work in photographic montage". Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864904.

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The statement of the problem for this creative thesis project was: How to construct photomontages that expressed the photographer's personal concerns regarding the human condition and the environmental status of the earth. Secondary components of this problem were the use of color within the work and how to reproduce this color. The goal of this project was: To stimulate individual awareness resulting in a reevaluation of one's own position and responsibilities towards humanity and the environmental status of the earth.A description of the significance of this problem is given along with supportive research. This project provided the photographer with an opportunity to use an artistic process to express environmental concerns that grew out of the photographer's environmental studies.Methods used to solve this problem included the collection of visual elements from readily available pre-printed material such as magazines and books. By combining these elements together in a new context a collage or montage was created. After the montage image was complete it was photographed on color slide film. These color slides were then placed in a projector system connected to a color laser copier. Each slide was projected on to the bed of the copier and scanned. This scanner communicated the image's digital signal to a color laser printer which produced a color laser print.Finally, each photomontage color print was window matted on white 100% acid free rag mat board and placed in a white frame for exhibition. An exhibition was held in the Ball State University Theatre Lounge/Gallery. Included in the appendices of this thesis is a copy of the exhibition flyer, artist statement and press release.A description of each individual piece is provided within_ this thesis. Addressed in this section are the formal properties of each photomontage. Techniques used in the construction of each photomontage are outlined. The expressive elements are identified arid their functions explored as they apply to the montage image. It is within this section that the photographer's opinions and feelings are expressed.The last section of this thesis is the evaluation and conclusion. In the photographer's opinion this project was a success because the photomontages express the personal concerns of the photographer. Also, these photomontages did stimulate awareness and reevaluation in the audience as reported by members of the audience to the photographer.
Department of Art

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36

Pinto, Levi Fernando Lopes Vieira 1991. ""A par dum trabalhador, devemos fazer um pensador" : a cultura anarquista paulistana nas práticas artísticas e pedagógicas das Escolas Modernas n. 1 e 2. /". São Paulo, 2019. http://hdl.handle.net/11449/183268.

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Orientador(a): Rita Luciana Berti Bredariolli
Banca: Rejane Galvao Coutinho
Banca: Anna Mae Tavares Bastos Barbosa
Resumo: No final do século XIX, o anarquismo chegou ao Brasil graças a imigração europeia, estimulada tanto pela crise econômica alguns países do continente, como a Itália, Espanha e Portugal, quanto pelo financiamento a essa imigração por parte do governo brasileiro, sobretudo no Estado de São Paulo. A consolidação do anarquismo no interior da classe operária paulistana - classe social que começou a surgir com a progressiva reconfiguração do capitalismo brasileiro que começou a dar seus primeiros passos à industrialização - fomentou uma cultura própria, desdobrando-se na música, teatro, poesia, literatura e na educação, com a abertura de escolas libertárias. Nossa narrativa contará a história das Escolas Modernas de São Paulo, que funcionaram na década de 1910 nos bairros operários do Brás e Belenzinho. Falar sobre elas teve, basicamente, dois objetivos: primeiro, contribuir para a história do anarquismo, da educação e da arte/educação no Brasil - considerando que há pouca bibliografia sobre elas ou ainda a sua omissão nas narrativas oficiais; segundo, tentar compreender de que maneira a cultura libertária formada na classe trabalhadora em questão se conciliava com o programa curricular das Escolas e se, por consequência, contou com aulas de artes que se contrapunham ao currículo oficial. Esse trabalho só foi possível a partir da consulta e leitura de documentos preservados em alguns acervos, em conjunto ao material bibliográfico existente
Résumé: À la fin du XIXème siècle, l'anarchisme est arrivé au Brésil grâce à l'immigration européenne, stimulée à la fois par la crise économique dans certains pays du continent, tels que l'Italie, l'Espagne et le Portugal, et par le financement de cette immigration par le gouvernement brésilien, en particulier dans l'État de São Paulo. La consolidation de l'anarchisme au sein de la classe ouvrière de la ville de São Paulo - une classe sociale qui a commencé à émerger avec la reconfiguration progressive du capitalisme brésilien qui commeçait à faire ses premiers pas vers l'industrialisation - a favorisé la création d'une culture propre, qui s'est étendue à la musique, au théâtre, à la poésie, la littérature et l'éducation, avec l'ouverture des écoles libertaires. Notre récit racontera l'histoire des Écoles Modernes de São Paulo, qui ont fonctionné pendant les années 1910 dans les quartiers ouvriers du Brás et Belenzinho. Parler de ces écoles avait deux objectifs principaux: premièrement, contribuer à l'histoire de l'anarchisme, de l'éducation et de l'art/éducation au Brésil - compte tenu du fait qu'il existe peu de bibliographie à leur sujets ou même leur omission dans les récits officiels; deuxièmement, essayer de comprendre la manière dont la culture libertaire formée dans la classe ouvrière en question s'est réconciliée avec le programme éducationnel des Écoles et si, par conséquent, elle comptait sur des classes d'art que s'opposaient au programme officiel. Ce travail n'a été... (Résumé complet accès életronique ci-dessous)
Mestre

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37

Josephy, Svea Valeska. "The development of a critical practice in post-apartheid South African photography". Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52508.

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Thesis (MA)--Stellenbosch University, 2001.
ENGLISH ABSTRACT: South African photography in the 20th century was dominated by the documentary genre. This genre has its roots in 19th century Modernist and colonialist belief in the accuracy of the camera as a tool of representation, and faith in the camera's objectivity and ability to present empirical evidence and 'truth'. These positivist notions were carried into South African documentary practice during the apartheid era. Apartheid-era South African documentary photography was particularly focused on exposing the socio-political ills of apartheid in order to gain support for the liberation movement, both locally and abroad. It was serious and didactic in its purpose and did not allow for creative responses to the medium, as the camera was seen as a 'weapon' of the struggle. The 1990s saw the beginning of the emergence of a liberated South Africa. The documentary imperative to record and expose apartheid practices was now increasingly redundant. Photographers, particularly after the elections, were faced with a 'crisis' of sorts in documentary as the main focus of their subject had been removed. The upshot of this was that documentary photographers had to find new subjects, which they had to approach in different ways. The arrival of Postmodernism in South Africa coincided with the demise of apartheid. It had in essence been kept at bay by what seemed to be the more pressing issues of the struggle. Postmodern art and its theoretical base, post-structuralism, argued for an erosion of the previously fixed concepts of genre, and allowed for the mixing of the previously separate categories of 'documentary' and 'art'. There was a radical questioning of previously fixed constructs of race, identity, class and gender. The erosion of the documentary imperative to record allowed for more creative responses to the medium than ever before. Artists were able to experiment technically, with video, multi-media, digital photography, historical processes, colour, composite work and interactive pieces. In this thesis I explore the above-mentioned shift and situate my practical work within this contemporary paradigm.
AFRIKAANSE OPSOMMING: Op die gebied van fotografie is die toneel in Suid-Afrika in die 20ste eeu deur die dokumentêre genre oorheers. Die genre het sy oorsprong in 'n Modernistiese en kolonialistiese, 19de-eeuse siening, naamlik dat die kamera 'n objektiewe en akkurate voorstellingsmiddel is waarmee empiriese bewyse ingesamel en die "waarheid" uitgebeeld kan word. Hierdie positiwistiese uitkyk is tydens die apartheidsjare op die dokumentêre praktyk in Suid-Afrika oorgedra. Tydens hierdie era was dokumentêre fotografie daarop gemik om die sosiopolitieke euwels van Suid-Afrika onder apartheid bloot te lê, ten einde sowel binnelands as buitelands vir die bevrydingsbewegings steun te werf Met hierdie gewigtige en didaktiese doel voor oë, was daar min ruimte vir 'n kreatiewe hantering van die medium, aangesien die kamera as 'n "wapen" in die stryd teen apartheid gesien is. Die 1990's het die begin van Suid-Afrika se bevryding ingelui. Die dokumentêre imperatief om apartheidsdade op rekord te stel en aan die groot klok te hang, het vervaag. Fotograwe het 'n soort "krisis" in die gesig gestaar, veral na die verkiesing, want die onderwerp van hulle fokus het verdwyn. Die resultaat was dat dokumentêre fotograwe nuwe temas moes vind, wat hulle vanuit 'n ander oogpunt moes benader. In Suid-Afrika het die koms van Postmodernisme met die ondergang van apartheid saamgeval. Voorheen is dit in wese oorskadu deur oënskynlik belangriker kwessies rondom die "struggle". Postmoderne kuns en die teoretiese grondslag daarvan, naamlik post-strukturalisme, bepleit 'n beweging weg van die vaste begrip van genre wat voorheen gegeld het. Hiervolgens raak 'n vermenging van die voorheen afsonderlike kategorieë 'dokumentêr' en 'kuns' moontlik. Dit bring ook 'n radikale bevraagtekening mee van die konstrukte ras, identiteit, klas en geslag, wat voorheen as vaste indelings beskou is. Die verflouing van die dokumentêre imperatief om dinge op rekord te stel, maak dit moontlik om op 'n meer kreatiewe wyse as ooit tevore met die medium om te gaan. Kunstenaars kan nou met die tegniese sy van fotografie eksperimenteer: video, multimedia, digitale fotografie, historiese prosesse, kleur, saamgestelde werke en interaktiewe stukke. In hierdie tesis kyk ek op verkennende wyse na die veranderings waarna hierbo verwys word, en situeer ek my praktiese werk binne hierdie kontemporêre paradigma.

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Fonseca, Felipe Schmidt 1978. "Redelabs : laboratórios experimentais em rede". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268901.

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Orientador: Rafael de Almeida Evangelista
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta dissertação relata as descobertas, hipóteses e conclusões de pesquisa a respeito de um tipo de produção colaborativa que aproxima arte, ciência, ativismo, inovação, design, entre outras áreas. Concentra-se no surgimento, em anos recentes, dos assim chamados laboratórios experimentais - espaços articulados em rede nos quais tal produção toma corpo. São abordadas sob tal perspectiva denominações tais como labs de mídia, hackerspaces, Fablabs, entre outras. A pesquisa analisa alguns desses modelos sobre o pano de fundo do imaginário tecnoutópico, que afirma as tecnologias de informação como instrumentos de combate à burocratização e à alienação da sociedade. Com o objetivo de questionar a usual associação dos labs experimentais em termos gerais ao desenvolvimento da cibernética e em particular ao histórico do estadunidense MIT Media Lab, a pesquisa explora outros fios narrativos para os múltiplos campos que influenciam a formação dos labs. Debruça-se ainda sobre o diálogo entre, de um lado, o contexto contemporâneo dos labs em diferentes partes do mundo, e de outro a contribuição da ideia de uma cultura digital particularmente brasileira - que ao longo da última década proporcionou a construção de um discurso que aproximava software livre, diversidade cultural e políticas públicas de inclusão social. São debatidos em particular dois eixos da cultura digital brasileira: o compensatório, que buscaria corrigir distorções históricas incluindo populações na chamada era da informação; e o exploratório, que buscaria criticar e influenciar os caminhos futuros da articulação entre tecnologia e sociedade. A dissertação relata ainda pesquisa de campo desenvolvida na Finlândia, onde foram vivenciados a preparação de um festival internacional de arte e tecnologia, visitas a diferentes espaços que se situam no campo dos labs experimentais, e o contato pessoal com integrantes de grupos e coletivos que atuam na fronteira entre cultura e tecnologia. Tais experiências contribuíram para a compreensão de elementos importantes dos labs experimentais, principalmente o aspecto da não conformação às expectativas de uma sociedade cada vez mais regida pela transformação de toda expressão cultural em valor econômico. Esse entendimento é aprofundado ao fim da dissertação na imagem do lab experimental como espaço em branco que, ao mesmo tempo em que funciona como interface entre redes digitais e as dinâmicas particulares dos locais onde se encontram, também situam-se como instâncias de resistência e reinvenção frente ao capitalismo informacional de matriz cibernética
Abstract: This dissertation reports on discoveries, hypotheses and conclusions of research on a kind of collaborative production that connects arts, science, activism, innovation, design, among other areas. It focuses on the appearing, in recent years, of the so-called experimental labs ¿ network articulated spaces in which such a production comes into being. Under that perspective are approached denominations such as media labs, hackerspaces, Fablabs, among others. The research analyses some of these models against the background of techno-utopian imaginary, which asserts information technologies as tools to fight against burocracy and allienation of society. With the goal of questioning the usual association of experimental labs in general to the development of cybernetics and particularly to the history of MIT Media Lab in the USA, the research explores other narrative threads for the multiple fields that influence the formation of labs. Attention is paid to the dialogue between, on one side, the contemporary context of labs in different parts of the wirld, and on the other the contribution of the idea of a particularly brazilian digital culture ¿ which over the last decade offered the possibility of building a discourse that draws closer free (open) software, cultural diversity and public policies for social inclusion. Two particular axes of the brazilian digital culture are discussed: the compensatory, which seeks to correct historical distortions by including populations in the so-called information age; and the exploratory, that seeks to criticize and influence future paths of the articulation of technology and society. The dissertation reports as weel on field research undertaken in Finland, where were experimented the preparation of an international festival on arts and technology, visits to different spaces situated on the field of experimental labs, and personal contact with members of groups and collectives that work on the border of culture and technology. Such experiences contributed to the understanding of important elements of experimental labs, especially the aspect of non-conformation to the expectations of a society increasingly ruled by the transformation of every cultural expression into economic value. This understanding is deepened by the end of the dissertation on the image of the experimental lab as a blank space that, as well as working as an interface between digital networks and the particular dynamics of the places in which they are located, are also situated as instances of resistance and reinvention before the cybernetical informational capitalism
Mestrado
Divulgação Científica e Cultural
Mestre em Divulgação Científica e Cultural

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Souza, Paulo Rogério Luciano Vilela de. "A cidade imaginada: percursos poéticos". Universidade Federal de Uberlândia, 2013. https://repositorio.ufu.br/handle/123456789/12326.

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This master\'s research in the search line \"practices and processes in the arts,\" has a proposal to look and reflect on the city (Uberlândia, MG) from art projects, considering their physical appearance as opposed to users perceptions of their urban space, what they observe and what they think and report through their lines. Seeks to address this town contextualized and which blends the dynamics of life, trade, power, conformation and longings. Give yourself through artwork interspersed reflection and theoretical approaches of these exercises plastics. So is contextualized in the exercise of artistic and dialogue between these thinkers and art, the city, the geography and the human condition. Five plastic works were carried out during the research: \"The Imagined City\" triggering situations and contradictory conditions of the real city, from its appearance factual and crisscrossed the spoken it; \"Urban Itineraries\" that causes the viewer from a invitation to meet this city real or imagined. Both were lodged in the public municipal art gallery \"Oficina Cultural\" in Uberlândia. As an outcome of the research were also carried out two urban interventions: \"Artist Lunch (who is the owner of the square?)\" Action that held the square Colonel Virgilio Rodrigues da Cunha, discussing the relationship between what is public and what is private in the city, and \"Turning Point\" conducted in two districts of Uberlandia, a look back to the equipment and appliances urban, in this case the bus stops from their plates. The fifth, and last work - \"Classifieds\" - was presented at the University Museum of Art (Muna - Uberlândia, MG), triggering a city constantly surrounded by negotiations that include alleged rents its public buildings, political decisions being bartered and other events that also move between the real and the imagined, leaving tracks doubtful situations to exhibition visitors. In the course of the research work feeds the plastic reflection on the theme of the survey, while this reflection also brings support for the preparation of work aligned with the proposal presented here. Acting with artwork in the city and taking the city as a territory of investigation is also exerting a constant negotiation in the sphere of public power through authorizations and desautorizações, issue also addressed by research.
Esta pesquisa de mestrado na linha de pesquisa práticas e processos em artes , tem como proposta olhar e refletir sobre a cidade (Uberlândia, MG) a partir de projetos artísticos, considerando sua aparência física em contraposição às percepções dos usuários do seu espaço urbano, naquilo que observam e naquilo que imaginam e relatam através de suas falas. Procura abordar esta cidade contextualizada e que se mistura à própria dinâmica da vida, de trocas, de poder, de conformação e de anseios. Dá-se através de trabalhos artísticos entremeados à reflexão e abordagens teóricas destes exercícios plásticos. Portanto está contextualizada no exercício do fazer artístico e no diálogo entre estes e pensadores da arte, da cidade, da geografia e da própria condição humana. Cinco trabalhos plásticos foram realizados durante a pesquisa: A Cidade Imaginada deflagrador de situações e condições contraditórias da cidade real, a partir da sua aparência factual e entrecruzada ao que se fala dela; Itinerários Urbanos que provoca o espectador a partir de um convite para ir de encontro a esta cidade real ou imaginada. Ambos foram apresentados na galeria pública municipal de arte Oficina Cultural , em Uberlândia. Como desdobramento da pesquisa também foram realizadas duas intervenções urbanas: Almoço de Artista (a praça é de quem?) , ação esta realizada na praça Coronel Virgílio Rodrigues da Cunha, colocando em discussão as relações entre o que é público e o que é privado na cidade, e Ponto Crítico realizado em dois bairros de Uberlândia, com um olhar voltado aos equipamentos e aparelhos urbanos, neste caso os pontos de ônibus, a partir de suas placas de sinalização. O quinto e último trabalho Classificados foi apresentado no Museu Universitário de Arte (MUnA Uberlândia, MG), deflagrando uma cidade constantemente envolta por negociações que incluem supostos aluguéis de seus prédios públicos, decisões políticas sendo barganhadas e outros acontecimentos que também transitam entre o real e o imaginado, deixando pistas de situações duvidosas aos visitantes da exposição. No transcorrer da pesquisa o trabalho plástico alimenta a reflexão em torno do tema central da pesquisa, e ao mesmo tempo esta reflexão também traz subsídios para a elaboração de trabalhos alinhados com a proposta aqui apresentada. Atuar com trabalhos de arte na cidade e tendo a cidade como território de investigação é também exercer uma constante negociação na esfera do poder público através de autorizações e desautorizações, questão também abordada pela pesquisa.
Mestre em Artes

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Purnomo, Setianingsih, University of Western Sydney, Faculty of Visual and Performing Arts e Department of Art History and Criticism. "The voice of muted people in modern Indonesian art". THESIS_FVPA_XXX_Purnomo_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/661.

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This research into Indonesian socialist-realism art, examines how art has shaped the political and social environments of the new order government. This text examines contemporary artists’ attitudes toward social commitment and social commentary during the period 1980-1995. Conflicting views of contemporary Indonesian artists were obtained from research undertaken in Indonesia in 1995. In this thesis, the problem is raised that Indonesian socialist-realism art is not only a style of art for contemporary Indonesian artists, but also as a union of artists’ attitudes towards Indonesian society. This argument is used to further understand modern Indonesian art from the ‘inner’ point of view
Master of Arts (Hons)

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Almeida, Gabriel Bueno. "Política, subjetividade e arte urbana". reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106968.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Psicologia, Florianópolis, 2013.
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Esta pesquisa teve como objetivo realizar uma imersão etnográfica na cultura da arte urbana de Florianópolis. Características destacadas desta cultura foram sua dimensão política, sua relação com a cidade e como os sujeitos nela envolvidos se constituem como grafiteiros, pichadores, artistas. O método etnográfico foi composto por duas frentes: primeiro o pesquisador veio a praticar a arte do graffiti, alçando proximidade com os demais praticantes, buscando compreender seus códigos e o que representa realizar tais pinturas pela cidade; segundo foi realizado, paralelamente a escrita da pesquisa, um documentário sobre o graffiti de Florianópolis. O documentário proporcionou acesso aos artistas e o registro de suas ações e depoimentos. A etnografia foi orientada segundo a teoria do antropólogo Massimo Canevacci, compondo a compreensão da cidade e da cultura do graffiti a partir de fragmentos e de seus códigos comunicacionais. A produção do documentário teve como orientação a teoria de Jean-Louis Comolli, onde o imprevisível é um rico elemento numa obra documental. A análise desta pesquisa foi dividida em três unidades temáticas: O signo como campo de afirmação axiológica; Política, resistência e enfrentamento; e Graffiti como forma de experienciar a cidade contemporânea. A primeira analisa como a linguagem se caracteriza como um campo político de afirmação ideológica a partir da teoria do Circulo de Bakhtin; a segunda aponta para características de formas contemporâneas de se fazer política, tendo como base a teoria de Jacques Rancière e Michel Foucault; a terceira analisa o envolvimento dos participantes da pesquisa com a cidade a partir de suas ações estéticas, segundo autores que teorizam sobre a cidade, como Richard Sennett, David Harvey e Marshall Berman, e também a partir de reflexões próprias do núcleo de pesquisa onde está dissertação foi realizada, o NUPRA/UFSC. Esta pesquisa apresenta alguns modos de se fazer política na sociedade contemporânea, não por via de enfrentamentos diretos, mas sim inventando novas práticas de existir nas cidades.

Abstract : This research had as objective do an ethnographic immersion in street art culture from Florianópolis. The aspects to be discussed are its political dimension, the relationship with the city and how this young people become graffiti writers and artists. The ethnographic method was develop in two fronts: first the researcher started himself to do graffiti art, getting into the culture, learning their codes and how they feel about painting in the street; second was made, in the same time that the ethnographic immersion was been doing, a documentary about graffiti in Florianópolis. The documentary helped to reach the artists and record their action and speech. The ethnography was planned following Massimo Canevacci anthropologic studies about cities in a fragmental and communicative comprehension. The documentary production was based in Jean-Louis Comolli thoughts, treating the unpredictable as a rich element in the movie. Analysis was made in three different subjects: the sign as an axiological affirmation; Politics, resistance and fighting; and Graffiti as a way to live the city. The first one is about how the language works as an ideological and political issue according to Bakhtin?s Circle; the second one is about contemporary ways of political actions according to Jacques Rancière and Michel Foucault theory; the third one is about how this young artists get involved with the city due to their aesthetics actions, according to Richard Sennett, David Harvey and Marshall Berman, and also according to studies made by the research group where this text was wrote. This research shows some new political gestures in the contemporary society, not by direct fighting, but creating new ways to be in the city.

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Czajka, Rodrigo. "Praticando delitos, formando opinião : intelectuais, comunismo e repressão no Brasil (1958-1968)". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280603.

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Orientador: Marcelo Siqueira Ridenti
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A produção artística e cultural realizada no Brasil entre as décadas de 1950 e 1960 é permeada de intensas discussões, tensões e conflitos que envolvem a disputa de distintos projetos intelectuais. Assim, a formação de um campo intelectual, a diversificação dos circuitos culturais e núcleos intelectuais e a emergência de uma intelectualidade de esquerda foram elementos presentes nesse contexto sócio-cultural. Estes foram fatores essenciais na consolidação de uma resistência cultural de esquerda que se defrontava tanto com o centralismo burocrático do Partido Comunista Brasileiro quanto com o regime militar após 1964. Entre dilemas ideológicos e políticos uma intelectualidade de esquerda floresceu não de forma homogênea e unitária, mas entremeada de impasses, disputas e embates que permitiram, em certa medida, a formação de núcleos culturais caracterizados, sobretudo, pela fragmentação. Com intuito de aferir tal modelo de análise dispusemos de um conjunto de Inquéritos Policiais-Militares (IPMs) que além de constituírem um material inédito de pesquisa, trazem elementos importantes para a discussão e detalhamento das questões culturais caras à intelectualidade de esquerda daquele momento. Constata-se, por exemplo, que a resistência cultural, mais que símbolo de uma unidade contra a repressão seja dos partidos ou do Estado, foi um fenômeno a partir do qual determinados núcleos intelectuais viram-se representados; uma hegemonia cultural de esquerda construída não pela coesão dos projetos de resistência, mas pelas dissensões e por aquilo que representava a resistência e a subversão comunista
Abstract: The artistic and cultural production made in Brazil at the 1950s and 1960s is permeated intensive discussions, tensions and conflicts involving the dispute of different intellectual projects. The formation of an intellectual sphere and the emergence of a left intellectuals group were elements presents in this context. These were key factors in consolidating a culture resistance of left that was built in the middle at the bureaucratic centralism of the Brazilian Communist Party and the military dictatorship after 1964. Between ideological and political dilemmas the left intellectuals appeared not homogeneous, but permeate of impasses, disputes and conflicts that favored the formation of cultural groups characterized by ragmentation. To check this analysis we searched a large number of military process (called IPMs) that as being a new material research, provide important elements for discussion and details of the cultural questions of the intellectuals at that time. For example, that cultural resistance, more than a symbol of unity against oppression of the the Party or the State, was a phenomenon from which certain intelectuals groups have been represented; a cultural hegemony of the left not made the cohesion of the projects of resistance, but by dissension and by what it represented the resistence and communist subversion
Doutorado
Doutor em Sociologia

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Lorenzi, Marie-Emilie. "Activisme rose : cultures et arts féministes queer en France". Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010578/document.

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Le terme "Queer" ne résonne pas de la même façon en version originale - le contexte anglo-saxon d'émergence - qu'en version française. L'objectif principal de cette recherche est de questionner les phénomènes de transferts culturels dans le contexte français du féminisme queer, à la fois mouvement de pensée critique, activisme et subculture apparus au milieu des années 1980 aux Etats-Unis. De cette traduction culturelle du mouvement queer en France est né un activisme rose qui à l'inverse du contexte anglo-saxon a développé une politique basée sur une forte affirmation identitaire, à la fois collective et individuelle, afin de déjouer le modèle d'intégration français largement imprégné d'idéaux républicains et où les dérives d'un universalisme abstrait conduisent à l'aveuglement face aux inégalités entre les individus. Ainsi la question centrale qui anime cette recherche est d'examiner comment cet activisme rose fait irruption dans le contexte français réfractaire aux politiques identitaires.Et, au-delà de la seule traduction linguistique, les phénomènes de réception et d'appropriation dans le contexte français du féminisme "queer" sont à comprendre dans toutes leurs dimensions : culturelle, politique, théorique, artistique, etc. Ainsi, cette recherche cherche à comprendre les spécificités de cet activisme, de son inscription parfois mouvementée au sein des mouvements féministes et des mouvements dits LGBT, à ses applications particulières en terme de pratiques culturelles et artistiques, afin d'interroger le phénomène d'esthétisation des techniques de lutte
The term queer, when used in the French language, does not echo the same way as in English –then referring to the anglo-saxon context of emergence. The main purpose of this study is to question the phenomena of cultural transfers of queer feminism – which appeared in the mid 1980s in the United States as both a subculture and a movement of critical thinking and activism- into the French context. This cultural translation resulted in pink activism which unlike its anglo saxon original model developed a policy based on strong identity affirmation, on both a collective and individual level. The goal was to beat the French integration system deeply imbued with republican ideals, where the drifts of an abstract universalism had produced blindness towards inequalities therefore the central issue investigated in this research is how this pink activism arose in a French context of opposition to identity-based politics.Moreover, the phenomena of reception and appropriation of queer feminism into the French context must be understood beyond the sole linguistic translation – in all their dimensions, cultural political, theoritical, artistic, etc. This study aims to understand the special features of this activism, from its sometimes uneasy integration among feminist and LGBT movements to its specific applications in terms of cultural and artistic practices, thus questioning the phenomenon of aestheticism of resistance techniques

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Santos, Ricardo Sant'Ana Felix dos. ""Antígonas tribunal de mulheres": arte como estratégia política de memória histórica". reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/135095.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Sociologia Política, Florianópolis, 2015.
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Esta pesquisa pretende investigar aspectos da prática artística de um grupo de mulheres vítimas de violências decorrentes do conflito armado colombiano como estratégia política de memória histórica. Através da relação comumente estabelecida ao se pensar no fenômeno da violência e nas possíveis respostas políticas a ela produzidas, vale pensar nas verdades estéticas, históricas e pedagógicas que esta violência reposiciona enquanto expressão de um conflito. Paralelamente, percebe-se que a morte, a dor, o sofrimento e o desaparecimento podem gerar luta e vida política para as mesmas vítimas. Uma política de perfil identitário reivindicado por mulheres que, neste despertar para a memória da produção de vítimas por crimes de Estado, demandam uma transição de consciência através de sua politização, refletindo algumas nuances relativas ao processo de poetização das experiências de violências do conflito interno e suas políticas de terror e extermínio. Para tanto, nos limitaremos a trabalhar com um estudo de caso que delimite o campo de análise às inter-relações presentes numa produção artística encampada por um grupo de mulheres que transformam-se de mães (e vítimas tornadas secundárias na esfera pública) a sujeitas políticas e agentes de cidadania ? novas ?Antígonas?. Aqui evocamos a imagem mitológica de Antígona, imortalizada por Sófocles, atualizada pelo teatro político colombiano em que emerge a peça ?Antígonas tribunal de mulheres?. Implícita e explicitamente, se notam questões tais como: as dimensões sócio-subjetivas da experiência da dor, da perda e da morte; as estruturações políticas e determinações sociais de um longo dinamismo histórico em que se reconfiguram as políticas de terror de Estado; a generificação da violência em sua forma política experienciada especificamente por mulheres.

Abstract : This study aims to investigate aspects of the artistic practice of one group of women victims of Colombian armed conflict violence as political strategy of historical memory. Through the relationship commonly established when we think about the phenomenon of violence and the possible political responses therefore produced, it?s worth thinking about the aesthetic, historical and pedagogical truths that this violence repositions as an expression of a conflict. At the same time, one realizes that death, pain, suffering and the disappearance can generate political struggle and life to the same victims. A political identity profile claimed by women: this awakening to the memory of the victims produced by state crimes requires an awareness transition through its politicization, reflecting some nuances concerning the poetics process constituted through the experiences of violence of the Colombian internal conflict and its politics of terror and extermination. Therefore, we limit ourselves to work with a case study that encloses the field of analysis to present interrelationships in an artistic production taken over by a group of women who turn from mothers (and secondary victims made by the public sphere) to become political subjects and citizenship agents - new "Antigones". Here we recall the mythological image of Antigone, immortalized by Sophocles, updated by the Colombian political theater in which emerges the play "Antigones court of women?. Implicitly and explicitly, we note issues such as: the socio-subjective dimensions of the pain experience, loss and death; the political structuration and social determinations of a long historical dynamism in which is reconfigured the state terrorism; the gendering of violence in its political form specifically experienced by women.

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45

Wise, Gianni Ian Media Arts College of Fine Arts UNSW. "Scenario House". Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.

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Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.

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46

Steyn, Pieter Andrew. "The relationship between the concept 'art' and its institutionalisation during the period 1850-1871 in South Africa". Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1005626.

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This research evolved as part of a personal struggle to understand my role as 'art' student. As such the essay is concerned with both the theory and practice of 'art', and the relationship between the two. It is, however, my experience of the lack of an analysis of the concept 'art' as a social and historical phenomenon, and the suppression of the politics of culture in most fine art courses, that has led me to concentrate on theoretical and political issues, rather than the formal aspects of painting. This essay is therefore not concerned with individual 'works of art', but with the general category 'art' as an organisational form. Despite its limitations, the essay goes beyond the personal by exploring some of the social, political, economic and cultural processes that form the broader social context in which the examination of 'art' should take place.

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Filippin, Christina Christoforo da Silva. "Teatro legislativo: aspectos teatrais, políticos e jurídicos". Universidade do Estado de Santa Catarina, 2009. http://tede.udesc.br/handle/handle/1330.

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The scientific inquiry presented has as central object the Legislative Theatre, of Augusto Boal. First of all, we try to register the experience carried through by Boal during his public mandate while councilman in the city of Rio de Janeiro in the year of 1993; by that time, the performances resulted on the approval of some municipal laws. From the accomplishment of workshop and interviews with people who had lived deeply the experience of the Legislative Theatre, and also through a critical analysis of the aesthetic, legal and political aspects of this theatrical form, we tried to verify if the Legislative Theatre would be able to extend the democratic participation in the legislative process. Besides that, we searched to inquire how the theatrical dimension would be related with the degree of participation in the legislative theatre. Finally, it has been proved that, beyond reflection, understanding and social inclusion of its participants, the Legislative Theatre is characterized as a tool of social performance
A investigação científica apresentada tem como objeto central o Teatro Legislativo, de Augusto Boal. Primeiramente, buscou-se documentar a experiência realizada por Boal na época de seu mandato político enquanto vereador na cidade do Rio de Janeiro no ano de 1993, que teve como resultado a aprovação de leis municipais, originadas a partir de encenações teatrais. A partir da realização de oficina e entrevistas com pessoas que vivenciaram a experiência do Teatro Legislativo, e através de uma análise crítica dos aspectos estéticos, políticos e jurídicos dessa forma teatral, buscou-se verificar se o Teatro Legislativo seria um instrumento apto a ampliar a participação democrática no processo legislativo. Demais disso, buscou-se averiguar em que medida a dimensão teatral estaria diretamente relacionada com o grau de participação nas práticas de teatro legislativo. Por fim, comprovou-se que, além de oportunizar reflexão, compreensão e conseqüente inclusão de seus participantes, o Teatro Legislativo caracteriza-se como uma ferramenta transdisciplinar de atuação social

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48

Behrens, Monika Art College of Fine Arts UNSW. "Silent bang". Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/42557.

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The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.

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49

Mussi, Joana Zatz. "O espaço como obra : ações, coletivos artísticos e cidade". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-14022013-161737/.

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O ESPAÇO COMO OBRA: Ações, Coletivos Artísticos e Cidade é uma reflexão a respeito dos processos de criação e impacto social das ações dos coletivos artísticos Contrafilé, Frente 3 de Fevereiro e Política do Impossível de São Paulo e GAC de Buenos Aires, que começaram a atuar em meados dos anos 1990. A dissertação foi desenvolvida a partir de diversas vozes, que se complementam e entrecruzam: uma voz narrativa, que vai apresentando descobertas feitas em minha atuação como artista no espaço urbano e que surge de uma dimensão local, inclusive íntima, chegando a uma voz mais \"reflexiva e acadêmica\"; vozes da grande mídia; as vozes dos próprios trabalhos artísticos apresentados; vozes dos coletivos, quando são utilizados como referências teóricas; e, por último, vozes de pensadores que de alguma forma influenciam o meu pensamento e o do movimento cultural do qual fazem parte as práticas urbanas aqui analisadas. O intuito é compreender como as intervenções urbanas, ao mesmo tempo, resultam e geram uma rede de afetos e significados e evidenciam a emergência de uma subjetividade política contemporânea que passa, necessariamente, por discutir e concretizar políticas de representação, relação, subjetivação e modos de vida alternativos aos impostos pelo neoliberalismo. Interessa, portanto, pensar como acontece e toma corpo a potência crítica situada deste tipo de resistência, configurando formas atuais do fazer político no contexto específico e complexo da cidade como escala e espaço referencial. O estudo se desenvolve como uma investigação ativa e participante de diversos trabalhos realizados pelos coletivos e através da qual me interessa observar essas ações/intervenções em seu poder disruptivo, ou seja, em sua capacidade de presentificar acontecimentos que de alguma forma desestabilizem representações sociais e sensações prévias. E que, ao evidenciar a possibilidade de fazê-lo, trazem à tona um saber circulatório que difunde a imagem produzida em situação representação direta e a experiência do \"público\" como obra.
The Space as theWork:Actions, Art Collectives and City is a reflection on creation processes and social impact of actions carried out by art collectives Contrafilé, Frente 3 de Fevereiro and Política do Impossível dfrom São Pauloe, as well as GAC Buenos Aires. These collectives have began work in the 1990\'s. The dissertation stems from multiple voices, which cross over and complement each other: a narrative voice that unravel discoveries made in my work as an artist in the urban space, emerging from a local and also intimate dimension, arriving at a \"more reflexive and academic\" voice; voices of the mainstream media; voices of the works studied; voices of the collectives, when they are mobilised as theoretical refeb rences and, lastly, voices of the thinkers who somehow influenced my thinking and voices of the cultural movement of which the urban practices under scrutiny are part of. The aim is to understand how the urban interventions at once result from and generate a network of affects and meanings, as they render evident the emergence of a contemporary political subjectivity. This subjectivity necessarily involves discussing and carrying out a politics of representation, relation, subjectivation and modes of life alternative to those imposed by neoliberalism. Under this light, the dissertation seeks to think how the critical potency situated in this kind of resistance can be embodied and takes place at all, configuring current forms of political making, in the specific and complex context of the city as scale and as referential space. This study developed as an active and participating investigation of several works carried out by the collectives. I seek to observe the actions/interventions in their disruptive power, i.e., in their capacity to render present events that somehow destabilise social representations and previous sensations. And which, as they evidence the possibility of being carried out, they bring to the surface a circulatory knowledge that diffuses the image produced in situation direct representation and the experience of the \"public\" as work.

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50

Ganczak, Iwona. "At the crossroads of politics and culture : Polish dissident art of the 1980s". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83104.

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This thesis will examine the political and social significance of the new artistic language that emerged in Poland in the 1980s. The new artistic language pertains to symbols, imagery and themes that originated in the discourse of the opposition and can be defined as the amalgam of the traditional religious vocabulary and time-specific symbols of oppression under Communism. The most prominent in this category are the symbols of the cross, the flowers, the national red and white flag, exclusively contemporary symbols such as the "television-people" as well as an array of traditional religious vocabulary. This unusual relationship between symbolic language of art and the symbols of the Church and the Solidarity accounted for the inherently political nature of dissident art. This thesis will discuss dissident art in context of the contemporary discourses: the discourse of the Communist Party, the Church, John Paul II and Solidarity.

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Tesi sul tema "Arts – political aspects"

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