Tesi sul tema "Indians of North America – Art – Exhibitions"
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Morrison, Ann Katherine 1929. "Canadian art and cultural appropriation : Emily Carr and the 1927 exhibition of Canadian West Coast Art - Native and Modern". Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31244.
Testo completoArts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
Konoske, Ashley Anderson. "The archaeology and rock art of Rock Creek, northwestern Nevada /". abstract and full text PDF (free order & download UNR users only), 2006. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1436190.
Testo completo"May, 2006." Includes bibliographical references (leaves 241-257). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2006]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.
Holm, Margaret Ann. "Prehistoric Northwest Coast art : a stylistic analysis of the archaeological record". Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29932.
Testo completoArts, Faculty of
Anthropology, Department of
Graduate
McLerran, Jennifer. "Inventing "Indian art" : New Deal Indian policy and the native artists as "natural" resource /". Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6226.
Testo completoPendegraft, Signa Winona. "Ground stone and pecked rock rock art on the Pah Rah Uplands, Washoe County, Nevada /". abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1447618.
Testo completoBonine, Kathleen Anne. "Culture contact change and continuity: The Mohave Indians". CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/673.
Testo completoHinojosa, Mary Margaret. "A venture in Native American shield making". CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-08272007-175230/.
Testo completoHale, John Patrick. "Rock art in the public trust managing prehistoric rock art on federal land /". Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019830541&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274289259&clientId=48051.
Testo completoIncludes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 19, 2010). Includes bibliographical references. Also issued in print.
Archibald, Samantha L., e University of Lethbridge Faculty of Arts and Science. "Contested heritage : an analysis of the discourse on The spirit sings". Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science , 1995, 1995. http://hdl.handle.net/10133/27.
Testo completovi, 335 p. ; 29 cm.
Barnd, Natchee Blu. "Inhabiting Indianness : US colonialism and indigenous geographies /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307536.
Testo completoTitle from first page of PDF file (viewed July 23, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 214-232).
Eldridge, Pamela S. "Color and number patterns in the symbolic cosmoloqies of the Crow, Pawnee, Kiowa, and Cheyenne". Thesis, Wichita State University, 1999. http://hdl.handle.net/10057/5579.
Testo completoThesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of Anthropology.
Ray, Melissa Marie. "The shield bearing warriors of Bear Gulch a look at prehistoric warrior identity in rock art and places of power /". CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-05112007-121422/.
Testo completoShope, Suzanne Alene. "American Indian artist, Angel Decora aesthetics, power, and transcultural pedagogy in the progressive era /". Diss., [Missoula, Mont.] : University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-10132009-112300.
Testo completoMaurice, Roland. "The otherings of Miss Chief : Kent Monkman's Portrait of the artist as hunter /". Address to access a reproduction of the painting on the Kent Monkman website (viewed Feb. 14, 2010), 2007. http://kentmonkman.com/works.php?page=painting&start=38.
Testo completoHambelton, Karla Lucille. "Scratched Petroglyphs in the Bennett Hills, Idaho". PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/329.
Testo completoElliott, Katherine Lynn Kinsey Joni. "Epic encounters first contact imagery in nineteenth and early-twentieth century American art /". Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/355.
Testo completoPeterson, Joseph S. "Exploiting tribal networks through conflict". Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2006. http://library.nps.navy.mil/uhtbin/hyperion/06Sep%5FPeterson.pdf.
Testo completoThesis Advisor(s): Anna Simons. "September 2006." Includes bibliographical references (p. 67-68). Also available in print.
Wilt, Julia J. "A Location Analysis of Vandalism to the Rock Art of the Columbia River Gorge National Scenic Area". PDXScholar, 1993. https://pdxscholar.library.pdx.edu/open_access_etds/4661.
Testo completoLemaitre, Serge. "Kekeewin ou kekeenowin: les peintures rupestres de l'est du Bouclier canadien". Doctoral thesis, Universite Libre de Bruxelles, 2004. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211124.
Testo completoDepuis une dizaine d'années, les recherches en art rupestre se développent de plus en plus :de nouvelles techniques, ainsi que des interprétations récentes, prenant plus en compte les autres domaines scientifiques font leur apparition. Toutes ces approches sont largement diffusées par des colloques, des congrès et des périodiques spécialisés. Néanmoins, elles sont encore peu appliquées dans de nombreuses régions, les représentations ne faisant généralement l'objet que d'un relevé succinct, d'une identification des principaux motifs et d'une chronologie relative incertaine. Dans les années '60, Leroi-Gourhan rejetait, à juste titre pour l'art pariétal européen, le comparatisme ethnologique et il préconisait de "recevoir directement du Paléolithique ce qu'il apportait spontanément". Les spécialistes européens se focalisèrent alors sur les peintures et gravures et les étudièrent de la même manière que n'importe quel artefact archéologique (typologie, chronologie, carte de répartitions, analyse quantitative…). Au contraire, en Amérique et en Australie, où l'approche ethnographique et ethnologique est possible, les chercheurs se concentrèrent principalement sur ce dernier axe de recherche. Les dernières recherches en Europe de l'art pariétal paléolithique ont démontré l'importance d'une approche à la fois plus objective, plus exhaustive et plus contextuelle, approche qui fait encore malheureusement très largement défaut dans les travaux consacrés aux art rupestres, notamment les peintures rupestres du Bouclier canadien. Or, ces manifestations "esthétiques" sont susceptibles de nous livrer des informations non seulement sur le fonctionnement mental et spirituel des hommes qui les ont réalisées, par l'analyse des contenus graphiques mais aussi sur leur fonctionnement social grâce à la reconstitution des diverses chaînes opératoires mises en œuvre pour leur obtention. Il est donc désormais indispensable de lier les deux approches et de traiter ces documents archéologiques, tant d’un point de vue anthropologique qu’archéologique. C’est-à-dire, en analysant les peintures dans leur contexte (importance du rocher et des fissures, position du rocher sur le lac et importance de la voie de communication) et en les reliant à ce que nous connaissons de la mythologie et des pratiques culturelles des sociétés amérindiennes.
Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
Hernandez, Rebecca Sarah. "Past is perfect in the present tense exhibiting Native America in museums and culture centers /". 2004. http://catalog.hathitrust.org/api/volumes/oclc/61178543.html.
Testo completo"July 2004." eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 172-178).
Hight, Kathryn Sweeney. "The frontier Indian in White art, 1820-1876 the development of a myth /". 1987. http://catalog.hathitrust.org/api/volumes/oclc/19722473.html.
Testo completoVita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 387-421).
Christal, Mark Allen. "Virtual museum projects for culturally responsive teaching in American Indian education". Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3110762.
Testo completoMiller, Lorrie. "Learning to be proud : First Nations women’s stories of learning, teaching, art and culture". Thesis, 1995. http://hdl.handle.net/2429/4323.
Testo completoHutchinson, Elizabeth West. "Progressive primitivism race, gender and turn-of-the-century American art /". 1998. http://catalog.hathitrust.org/api/volumes/oclc/42215482.html.
Testo completoUMI copy paged continuously. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 320-325).
McPeak, Tamara Josserand Kathryn. "The educational function of native American art shops in Flagstaff, Arizona". 2004. http://etd.lib.fsu.edu/theses/available/etd-04072004-132553.
Testo completoAdvisor: Dr. Kathryn Josserand, Florida State University, College of Arts and Sciences, Department of Anthropology. Title and description from dissertation home page (viewed June 17, 2004). Includes bibliographical references.
Hawker, Ronald W. "Accumulated labours : First Nations art in British Columbia, 1922-1961". Thesis, 1998. http://hdl.handle.net/2429/9487.
Testo completoHelweg, Priya Anne. ""Why shouldn’t we live in technicolor like everybody else..."¹ evolving traditions : Professional Northwest coast First Nations women artists". Thesis, 1995. http://hdl.handle.net/2429/3570.
Testo completoKelley-Galin, Deborah. "Dreaming, embodiment and perception in the narrative arts of the Hopi people". Thesis, 2019. http://hdl.handle.net/10500/25759.
Testo completoThis study examines the symbiotic relationships between Hopi traditional arts, the use of art and narrative as mnemonic device, and embedded references to the Fourth World narrative that describes how the Hopi people climbed from a troubled Third World into the current spatio-temporal era, the Fourth World. (The original oral narrative was published by anthropologist Harold Courlander and anonymous consultants in 1971 as The Fourth World of the Hopis: The Epic Story of the Hopi Indians as Preserved in Their Legends and Traditions.) This study posits that the traditional arts of the Hopi and their forebears serve as visual and oral reiterations of the Fourth World narrative, including their emergence from an opening in the earth known as the sipaapuni. After promising to live a harsh but reverent life, the land’s guardian, Maasaw, made the arid southwestern North American land theirs. The Hopi people call these lands Hopi Tutskwa, the original home of the migrating “Ancestral Puebloan” predecessors. The Hopi consider objects, habitation sites, structures, and other sacred features to be these ancestors’ embodied “footprints.” This study describes how diverse Hopi arts are both Ancestral Puebloan “footprints,” and what archaeologists define as “exographic” objects or mnemonic forms of “symbolic storage.” The use of mnemonic objects within the Puebloan culture has been documented as early as 1630 by Fray Alonso de Benavides who noted the use of “knotted strings” as a form of recording “sins” (Morrow, 1996:42). As they relate to mnemonic technology, Hopi arts and lifeways expand the boundaries of Western art history studies to include elements of archaeology and anthropology. Within these interdisciplinary contexts, objects and imagery are not simply “art” in the Western sense, but embodiments of cultural belief and visual reiterations of oral narratives which preserve intrinsic cultural knowledge and belief. This study suggests that what has previously been categorised as Hopi “art” within Western academic contexts is instead an extension of the West’s tradition of ekphrasis, or simply “writing about art.” Therefore, Western academia inappropriately emphasises chronological form, style, and development within Hopi arts rather than the significant cognitive role art plays within the culture of the people. As traditional metaphors for or reiterations of the Fourth World narrative, this study shows how content embedded within Hopi arts is most appropriately studied through iconological and mytholinguistic analysis as they best serve the Hopi people’s non-Western oracy-based tradition.
Hierdie studie ondersoek die simbiotiese verhoudings tussen die Hopi se tradisionele kunsvorme; hulle gebruik van kuns en narratief as mnemoniese middele; en ingebedde verwysings na die Vierdewêreld-narratief wat vertel hoe die Hopi-nasie bo ’n veelbewoë Derde Wêreld kon uitstyg en die huidige tydruimtelike era, die Vierde Wêreld, kon betree. (Die oorspronklike orale narratief, The Fourth World of the Hopis: The Epic Story of the Hopi Indians as Preserved in Their Legends and Traditions, is in 1971 deur die antropoloog Harold Courlander en anonieme konsultante gepubliseer.) Hierdie studie voer aan dat die tradisionele kunste van die Hopi’s en hul voorvaders dien as visuele en orale reïterasies van die Vierdewêreld-narratief, insluitende hulle verskyning deur ’n opening in die aarde wat as die sipaapuni bekend staan.Nadat hulle beloof het om 'n moeilike dog eerbiedige lewe te leef, het die bewaker van die land, Maasaw, die woestynagtige suidweste van Noord-Amerika aan hulle gegee. Die Hopi-nasie het hierdie streek Hopi Tutskwa, die oorspronklike tuiste van die swerwende “Voorvaderlike Puebloaanse” voorgangers, genoem. Die Hopi beskou objekte, woonterreine, strukture en ander heilige elemente as vergestaltings van die voorvaders se “voetspore”.Volgens die studie is uiteenlopende Hopi-kunsvorme nie net Voorvaderlike Puebloaanse “voetspore” nie, maar ook die “eksografiese” objekte of mnemoniese vorme van “simboliese bewaring” wat deur argeoloë omskryf word. Die aanwending van mnemoniese objekte in die Puebloaanse kultuur is reeds in 1630 opgeteken deur Fray Alonso de Benavides. Hy het vermeld dat knope in toue gemaak is om van “sondes” boek te hou (Morrow, 1996:42). Die verband wat Hopi-kunsvorme en -lewenswyses met mnemonise tegnologie hou, verbreed die grense van Westerse kunsgeskiedenisstudie om ook elemente van argeologie en antropologie in te sluit. In hierdie interdissiplinêre kontekste is objekte en beelde nie net eenvoudig “kuns” in die Westerse sin van die woord nie; dit is ook ’n vergestalting van kulturele oortuigings en visuele reiterasies van orale narratiewe wat intrinsieke kulturele kennis en oortuigings bewaar. Hierdie studie voer aan dat dit wat voorheen in Westerse akademiese kontekste as Hopi-“kuns” gekategoriseer is, in werklikheid ’n verlenging is van die Westerse ekphrasis-tradisie, wat eenvoudig beteken “om oor kuns te skryf”. Westerse akademici plaas dus ’n onvanpaste klem op die chronologiese vorm, styl en ontwikkeling van Hopi-kuns in plaas daarvan om die kognitiewe rol wat kuns in die kultuur speel, te beklemtoon. Hierdie studie toon hoe die ingebedde inhoud van Hopi-kunsvorme, as tradisionele metafore vir en reiterasies van die Vierdewêreld-narratief, op die mees gepaste wyse bestudeer kan word deur ikonologiese en mitolinguistieke ontleding van die Hopi-nasie se nie-Westerse tradisie wat op geletterdheid van die gesproke woord (oracy) gebaseer is.
Lolu cwaningo luhlolisisa ubuhlobo bobudlelwane obukhona phakathi kobuciko bamasiko endabuko amaHopi, ukusetshenziswa kobuciko nokulandisa njengamadivaysi aphathelene nokukhumbuza kanye nezinkomba ezifakwe emlandweni Wesine Womhlaba ochaza ukuthi abantu bamaHopi bakhuphuka kanjani ezweni elabe liyinkinga ukufinyeleleni kulesikhathi sanamuhla soMhlaba Wesine. (Indaba yokuqala elandisayo exoxwayo yashicilelwa umuntu oyisazi seanthropholoji esaziwa ngokuthi nguHarold Courlander kanye nabaxhumanisi abangaziwa ngonyaka ka1971 njengengoMhlaba Wesine wamaHopi: Indaba Yokubonga Amaqhawe abantu abangaMandiya angamaHopi njengoba Kugcinwe kuyiZinganekwane Namasiko abo). Lolu cwaningo lubonisa ukuthi ubuciko bamasiko bamaHopi kanye nabokhokho babo babedlulisa imilayezo ngezinto eziphindaphindiwe ezibukwayo nezidluliswa ngomlomo ekulandiseni ngoMhlaba Wesine, kufaka phakathi ukuvela kwawo ekuvuleni emhlabeni owaziwa ngokuthi yisipaapuni. Ngemuva kokuthembisa ukuthi uzophila impilo enzima kodwa ehloniphekile, umgcini wezwe uMasaaw wenza umhlaba omelele eningizimu nasentshonalanga neNyakatho neMelika ukuthi ube ngowabo. AmaHopi abiza lemihlaba ngokuthi yiHopi Tutskwa, okuyikhaya langempela olwafuduka “koKhokho wePuebloan” owayekhona esikhundleni ngaphambilini. AmaHopi abheka izinto, izindawo zokuhlala, izakhiwo kanye nezinye izici ezingcwele ukuba zibe yilezo zinto ezifakwe "ezinyathelweni" zokhokho. Lolu cwaningo luchaza ubuciko obuhlukahlukene bamaHopi obusho “izinyathelo” Zokhokho bePuebloan kanye nalokho okuchazwa ngabantu abaphenya ngezinto zasendulo okuthiwa ama-akhiyoloji njengezinto "eziyi ekzografi " noma izinto iziphathelene nokukhumbula okuthile "okuwuphawu olugciniwe". Ukusetshenziswa kwezinto eziphathelene nokukhujulwayo osikweni lwamaPuebloan laqoshwa phansi kusukela eminyakeni ye-1630 nguFray Alonso de Benavides oye waqaphela ukusetshenziswa “kwezintambo eziboshiwe” njengento yokuqopha noma ukurekhoda “izono” (Morrow, 1996:42) Njengoba zihlobene nobuchwepheshe bezinto ezikhunjulwayo, ubuciko bamaHopi nokuphila kwabo kwandisa imingcele yezifundo zomlando yaseNtshonalanga okufaka phakathi izinto zama-akhiyoloji nama anthropholoji. Ngaphakathi komongo wezizinda ezahlukene, izinto nemifanekiso akuzona nje izinto ezilula “eziwubuciko” ngokomqondo waseNtshonalanga, kodwa ukukhombisa izinkolelo zamasiko kanye imilayezo ngezinto eziphindaphindiwe ezibukwayo nezidluliswa ngomlomo ezigcina ulwazi lwangaphakathi olujwayelekile lwamasiko nenkolelo. Lolu cwaningo lubonisa ukuthi yini eyabekwa yahlelwa nje "ngobuciko" bamaHopi ngaphakathi kwezimo zezemfundo zaseNtshonalanga kunalokho kwandiswa isiko laseNtshonalanga okuwu buciko bokukhuluma, noma “ukubhala ngosiko”. Ngakho-ke, izazi ngezemfundo zaseNtshonalanga zagcizelela okungalungile ngendlela yokulandelana, isitayela nentuthuko ngaphakathi kobuciko bamaHopi esikhundleni sendima ebalulekile yokuqonda edlalwa ubuciko osikweni lwabantu. Njengamazwibela wendabuko wokungathekisa noma ekulandiseni ngoMhlaba Wesine ngokuphindaphindiwe, lolu cwaningo lubonisa ukuthi okuqukethwe kufakwe kanjani ebucikweni bamaHopi okuyindlela efanelekile okufundwa ngayo kusetshenziswa ukuhlaziya ayikhonoloji kanye nesayensi ephathelene nolimi lwezinganekwane njengoba babechaza abantu abangamaHopi olwakhelwe osikweni lokuxoxwa ngomlomo okungelona lwaseNtshonalanga.
Art History, Visual Arts and Musicology
D. Litt. et Phil. (Art History)