Tesi sul tema "Women in art"
Segui questo link per vedere altri tipi di pubblicazioni sul tema: Women in art.
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Vedi i top-50 saggi (tesi di laurea o di dottorato) per l'attività di ricerca sul tema "Women in art".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Vedi le tesi di molte aree scientifiche e compila una bibliografia corretta.
1
Meneses, Romero Mariana. "Women cooking art : hospitality and contemporary art practices". Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20638/.
Testo completoAbstract (sommario):
This thesis examines the notion of hospitality in light of contemporary food-based artistic practices created from 2000 to 2015 by female artists Sonja Alhauser, Mary Ellen Carroll, Leah Gauthier, Ana Prvacki, Alicia Rfos, Jennifer Rubel I, Miriam Si mun, and Anna Dumitriu, and the experimental food artists Sam Bompas and Harry Parr. The aim is to make sense of how food practices, art, and feminism intersect, especially in light of the gendered history of the food system, including cooking, when opened onto a philosophically developed notion of hospitality. I explore the intricacies of hosting the "other", considering the multiple levels in which the relationship between the host and the guest develops. Hospitality is examined as a continuous cycle of relationships where dynamics and discourses of power and of generosity are constantly rehearsed. I focus on four main stages within the food system: 1) the gathering of edibles; 2) the cooking process; 3) the moment when food is shared and ingested with others; and 4) the digestive process. Throughout this thesis, I consider hospitality as an open structure that sheds light on the understanding of the encounters between human and non-human species-including animal, vegetable, and microbial-in the food chain. My analysis is situated within contemporary debates of gender studies, cultural studies, food studies, and philosophy of hospitality, in particular, Jacques Derrida's ethics of the other, and the imperative that "one must eat well". Eating is discussed as the literal and metaphorical assimilation and incorporation of the other, and incorporates feminist theoretical engagements which highlight Western thought as being structured by a series of gendered dichotomies, including those of nature-culture, male-female, mind-body, object-subject. I argue that the philosophical notion of hospitality and feminist theory enable a critical approach to the food system as a continual ethical imperative for and to the other.
2
Erickson, Bonnie. "ART THERAPY TREATMENT WITH INCARCERATED WOMEN". Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2615.
Testo completoAbstract (sommario):
This study examined the effectiveness of art therapy in decreasing symptoms of trauma and psychological distress in women who were incarcerated in county jails in the Southeastern United States. In order to protect the integrity of the study, control subjects were in different dormitories from the treatment subjects. While the dormitories were randomly assigned to treatment or control, the subjects were not. The dependent measures were paper and pencil tests, the Outcome Questionnaire (OQ-45.2) and the Trauma Symptom Inventory (TSI) given at pretest and posttest. A demographic questionnaire was completed in the first session to better characterize the participants. In addition, a post study evaluation with open ended questions was completed at the end of the study that allowed participants to share their feelings about the treatment experience. Additional qualitative information was obtained through observation data collected by the investigator who served as the provider of treatment. Art therapy group participants attended six sessions of art therapy over a three week period which was administered using six standard art projects. Like treatment subjects, control participants had access to the treatment available in the jail to all inmates, and were offered art therapy treatment after final data were obtained. Though the statistical data gathered in this study did not provide empirical evidence that the group art therapy treatment was effective in reducing symptomatology, the qualitative responses indicated that the treatment was rated very positively by the participants. No statistically significant changes were found in overall scores, however, some significance was found on some individual treatment scales. Scores measuring psychological distress and trauma symptoms generally decreased over time for all study participants, however, treatment participant scores improved at a greater rate. The study was limited due to small sample size (N=26). Nearly half of the original participants were lost to attrition associated with administrative actions in the county jail system. The measurement instruments used were not specifically adapted to incarcerated individuals and may not have provided adequate measurement for this population. Responses from the participants were overwhelmingly positive. Inmates responses to the post study evaluation indicated that they had enjoyed the experience and would recommend the group to others. More than 75% stated that they felt that the treatment had helped them deal with difficult experiences in their past. The most frequent suggestion for the future was that the groups needed to be continued, and should be longer and more frequent.Ph.D.
Department of Child, Family and Community Sciences
Education
Education PhD
3
Watson, Mary Jo. "Oklahoma Indian women and their art /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1993.
Cerca il testo completo
4
Lennox, Jordana Kay. "Envisioning the new woman : women and art in Weimar Germany 1918-1933 /". Title page, table of contents and introduction only, 2004. http://web4.library.adelaide.edu.au/theses/09AR/09arl568.pdf.
Testo completo
5
Turner, Sharon Kay Richey. "Bigger God, stronger women helping women expand their God imagery through art /". Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p075-0072.
Testo completo
6
Bradley, Jessica. "Postmodern bodies and feminist art practice". Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69635.
Testo completoAbstract (sommario):
This thesis examines, from a feminist perspective, conceptions of the body proposed by poststructuralist philosophy and postmodernist art practice. Within both feminist and postmodern critiques of the humanist subject, the body has come to be understood as a site of cultural inscriptions. In tracing the relationship between postmodernism and feminism, the thesis addresses specifically the shift from celebratory, affirmative female imagery typical of feminist art in the seventies, to the semiotic analysis of images of women which, in the eighties, problematized the question of sexual difference as one of representation. During the eighties women artists generally eschewed figurative representations of the female body in recognition of its over-determined socio-sexual status. Within this historical framework, the tension between the "de-materialized" body of postmodernity and the insistently present body of gendered experience is explored both in the work of feminist theorists and contemporary women artists. In conclusion, three corporeal sites--the cultural, the epistemological and the psycho-sexual--are analysed in the postmodern practices of Jana Sterbak, Nell Tenhaaf and Kati Campbell.
7
Hanna, Heather. "Women framing hair : serial strategies in contemporary art". Thesis, Open University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551616.
Testo completoAbstract (sommario):
This thesis explores the complex and enigmatic motif of hair in the work of five contemporary women artists, Chrystl Rijkeboer, Alice Maher, Annegret Soltau, Kathy Prendergast and Ellen Gallagher, from the late 1970s to the present. The purpose of the research is to investigate why hair is such a productive and resonant site of meaning, how it is suggestive of and responds to serial strategies, and why it appears to be of particular significance to women who are artists. I explore the implications of hair as an embodied material, as well as its role as a haptic metaphor of the life cycle. I also discuss some of the divergent histories of hair as a rich marker of identity in cultural discourses of beauty, myth and femininity, and as a symbol of status and power. What might be seen as a darker, more liminal side of hair as a site of excess and body waste, and its ability to represent trauma and 'wounding', are also explored. As I argue, through its somatic connections hair can be positioned both of, and yet abjected from, the living body. Informed by a range of theoretical approaches, this research has drawn on Julia Kristeva's theorizations of the abject, Helene Cixous's notion of ecriture feminine, and a Deleuzian consideration of difference. A major concern is the different artists' strategies and negotiations with notions of seriality, which enable rich and compelling possibilities for writing the female body in imaginative and fluid ways. This, together with gender issues, identity and the body - specifically the head - and memory as a marker of biography, are key themes throughout the thesis. In combination with its historiography, the medium of hair and its simulacra in art practice are seen to have the potential to challenge and subvert conceptions of feminine identity and some of the bastions of traditional painting and sculpture.
8
Johnson, Julie Anne. "Conflicted Selves: Women, Art, & Paris 1880-1914". Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1591.
Testo completo
9
Aydemir, Cigdem. "Image and Voice: Muslim women in Contemporary Art". Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15723.
Testo completoAbstract (sommario):
This paper investigates the Western image of the Muslim woman in the context of contemporary art. Through my art practice I use the veiled woman cipher to reflect on personal experiences whilst broadening definitions and displacing hegemonic representations of veiling and Muslim women in an Australian cultural context. These are exemplified through autobiographical elements, parody in the Extremist Activity series, performative interventions illustrating the concept of the body as an occupied site and architectural devices that (re)create notions of inclusion, exclusion and otherness in space. From loquacious and overbearing noblewomen to helpless harem slaves awaiting rescue by her Orientalist saviours, an analysis of the development of the Muslim woman’s image throughout history reveals the shifting and contingent nature of her role in the Western imagination. Finally, an examination of current representations of Muslim women in Australian contemporary art demonstrates how these images often repeat and reinforce, rather than depart from, Orientalist and neo-Orientalist constructs.
10
Turner, M. K., of Western Sydney Nepean University e School of Contemporary Arts. "Representation and womens art". THESIS_XXX_CAR_Turner_M.xml, 1998. http://handle.uws.edu.au:8081/1959.7/732.
Testo completoAbstract (sommario):
The thesis contains a discussion of surrealism and the work of Meret Oppenheim and Leonora Carrington. In the thesis I also distinguish three groups of paintings in essays and describe my work and the way in which theory and practice have recommended one another. 'Salience and Surrealism' discusses how the features of collaboration, play and partnership involve women artists within the surrealist movement, and how their ideas of the feminine principle evolve and change. I also discuss the changing attitudes to imagination, creative inspiration and activity, and the understanding brought about by the meeting between surrealism and psychology. The salience of surrealism as an introverted urge and instinct toward individuation, is suggested by Kenneth Wack 'as the source of surrealism's most abiding success.' The contemporary use of salience applies to features, characteristics, and from architecture as protrusions or fortifications. The dictionary definition begins with extroverted examples like dancig, leaping about and jetting forth. The archaic meaning is origin or first beginning, hence in old medicine salience applies to the heart when it first shows in the embryo. In salience the anagram of, a silence, gave heed to the atmosphere of silence from creativity and in paintings. A silence, also corresponds with the middle part of Meret Oppenheim's life when she experienced an artisitc crisis and depression. This essay looks back fifty years of self-expression from this artist and finds prominent features to suggest the essential dichotomies which mark the artwork. Meret Oppenheim's ouevre includes painting, sculpture, poetry, books, and theatre costume and apparal. Her multiple talents in the arts and literature are like those of Leonora Carrington who has published several books and plays, in the visual arts she sculpted and painted. The salience of their creative and intellectual endeavours found realisation in the wisdom of the feminine, of animal spirits and of natural worlds. The principles of alchemy also inspired and informed their attitudes to creativity which emerges from the unification of opposites. Both artists called for a new alliance between male and female principles, and evolve concepts of androgyny, which for them lift creation to higher levels. These women as artists found a field of the arts that furnished them with both physical life and spiritual lifeMaster of Arts (Hons)
11
Turner, M. K. "Representation and womens art". Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/732.
Testo completoAbstract (sommario):
The thesis contains a discussion of surrealism and the work of Meret Oppenheim and Leonora Carrington. In the thesis I also distinguish three groups of paintings in essays and describe my work and the way in which theory and practice have recommended one another. 'Salience and Surrealism' discusses how the features of collaboration, play and partnership involve women artists within the surrealist movement, and how their ideas of the feminine principle evolve and change. I also discuss the changing attitudes to imagination, creative inspiration and activity, and the understanding brought about by the meeting between surrealism and psychology. The salience of surrealism as an introverted urge and instinct toward individuation, is suggested by Kenneth Wack 'as the source of surrealism's most abiding success.' The contemporary use of salience applies to features, characteristics, and from architecture as protrusions or fortifications. The dictionary definition begins with extroverted examples like dancig, leaping about and jetting forth. The archaic meaning is origin or first beginning, hence in old medicine salience applies to the heart when it first shows in the embryo. In salience the anagram of, a silence, gave heed to the atmosphere of silence from creativity and in paintings. A silence, also corresponds with the middle part of Meret Oppenheim's life when she experienced an artisitc crisis and depression. This essay looks back fifty years of self-expression from this artist and finds prominent features to suggest the essential dichotomies which mark the artwork. Meret Oppenheim's ouevre includes painting, sculpture, poetry, books, and theatre costume and apparal. Her multiple talents in the arts and literature are like those of Leonora Carrington who has published several books and plays, in the visual arts she sculpted and painted. The salience of their creative and intellectual endeavours found realisation in the wisdom of the feminine, of animal spirits and of natural worlds. The principles of alchemy also inspired and informed their attitudes to creativity which emerges from the unification of opposites. Both artists called for a new alliance between male and female principles, and evolve concepts of androgyny, which for them lift creation to higher levels. These women as artists found a field of the arts that furnished them with both physical life and spiritual life
12
Turner, M. K. "Representation and womens art". View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030916.113709/index.html.
Testo completo
13
Kasat, Pilar Amparo. "Singing the Women Back Up: Art for Social Change and the Empowerment of Women". Thesis, Curtin University, 2020. http://hdl.handle.net/20.500.11937/82686.
Testo completoAbstract (sommario):
This thesis examines art for social change as a decolonising methodology. Four case studies set in colonial-settler societies discuss how women of colour and Indigenous women use art for social change not only to tell their own stories and reclaim their individual power but also to exert power in their collective fight for social justice. The thesis suggest that their creative practices are building a language of resistance that is resonating across the world.
14
McNeal, Joanne Carolyn. "Western Arctic women artists' perspectives on education and art". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25113.pdf.
Testo completo
15
Clarke, Meaghan E. "Critical voices in British art : women writing 1880-1905". Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340833.
Testo completo
16
Kim, Gumsun. "A question of equality : women and women's art under patriarchal society /". View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030801.151817/index.html.
Testo completo
17
Lee, Chanju. "Birth and Women in Mythology". Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/35.
Testo completoAbstract (sommario):
The Birth is a multi-media video installation inspired by my personal experiences of a miscarriage and the births of my two children. The work is influenced by the mythologies found in Korean culture that focus on the mother figure as a ¡°Great Mother¡±. She is an ¡°ideal woman¡±, a ¡°good mother¡± and a ¡°sincere wife¡±. Working abstractly across the media of painting, video, digital animation, and the paintings of my son, The Birth exploits metaphors and symbols, to tell the story of women, especially the stories of mothers. The work speaks to motherly love and my own identity as an artist and a mother.
18
Frietsch, Elke. ""Kulturproblem Frau" Weiblichkeitsbilder in der Kunst des Nationalsozialismus /". Köln : Böhlau, 2006. http://catalog.hathitrust.org/api/volumes/oclc/71712948.html.
Testo completo
19
Kirk, Elizabeth Gail. "Neo-orientalism : ugly women and the Parisian avant-garde, 1905-1908". Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28091.
Testo completoAbstract (sommario):
The Neo-Orientalism of Matisse's The Blue Nude (Souvenir of Biskra), and Picasso's Les Demoiselles d'Avignon, both of 1907, exists in the similarity of the extreme distortion of the female form and defines the different meanings attached to these "ugly" women relative to distinctive notions of erotic and exotic imagery. To understand Neo-Orientalism, that is, 19th century Orientalist concepts which were filtered through Primitivism in the 20th century, the racial, sexual and class antagonisms of the period, which not only influenced attitudes towards erotic and exotic imagery, but also defined and categorized humanity, must be considered in their historical context.
My introduction is an investigation of current art historical scholarship which has linked the manipulation of form by Matisse and Picasso and shifting avant-garde practice in Paris in the years 1905 - 1908, when Cubism displaced Fauvism, to the concepts of Orientalism and Primitivism. The problem of the ideological content of images of women, which I undertake to address, arises from these studies which rely upon the assumed metaphysical fascination with the exotic or the intuitive, personal concern for erotic symbolism by the artists as a solution to meaning. The absence of a rich critical discourse surrounding the paintings encourages my approach to the problem of meaning whereby in Chapter One I examine images of women produced in Paris in the specific discourses of popular and official culture in 1906. These representations of the female are identified as ideological constructions which functioned in relation to the important and broader issues of the moment affecting the dominance of French culture: class struggle and neo-colonialism.
In Chapter Two the "ugly" women of Matisse's The Blue Nude (Souvenir of Biskra) and Picasso's Les Demoiselles d'Avignon are analysed as intended avant-garde transformations
of images of female prostitutes and compared with the Images of women In popular and official culture and with each other, In recognition of their function within the historical context of their production. In conclusion I suggest that the difference in meaning between these paintings by Matisse and Picasso was Ideological, operating within the context of class struggle and neo-colonialism, and defined by their distinctive conscious and unconscious use of Primitivism.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
20
Ma, Nancy. "Woman•Horse: Identifying Chinese Women Artists’ Attitudes Towards Feminism Through a Reclamation of Chinese Women’s History". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16568.
Testo completoAbstract (sommario):
As a Chinese woman who was once oppressed, and may still be, this thesis project is my initiative to reclaim dignity for those who were oppressed and honour those who helped improve women’s status in Chinese history. Linda Nochlin asking, ‘Why have there been no great women artists?’ inspired me to question Why have there been no great Chinese feminist artists? Simultaneously, Gerda Lerner’s argument on the ‘absence of Women’s History’ motivated me to reclaim Chinese women’s history. This thesis attempts to answer my question through an exploration of women’s contributions to Chinese history. This thesis explores women’s abilities prior to their oppression in the patriarchal order of China’s past. It portrays women’s thousand-year struggle against the patriarchal backdrop, wherein Chinese women and female artists inherited the traits projected onto them. I highlight the gender inequality experienced by contemporary Chinese female artists in the global art world, and their self-identified struggle to be named as ‘feminist artist,’ revealing Chinese women are still submissive to men in ‘Post-Patriarchy.’ In my attempt to examine gender equality issues, many scholars’ and artists’ works are utilized, including Bao Jialin, Ch’ü T’ung-Tsu, Amelia Jones, Li Youning, Li Xueqin, Liang Qichao, Lu Xun, Sally E. Merry, Laura Mulvey, Elizabeth A. Sackler, Sally J. Scholz, Wang Ermin, Wong Hon-lap, Xu Hong, Yuan Ke, and Zhuangzi. The artworks of Judy Chicago, Chen Qingqing, Tao Aimin, and Yin Xiuzhen are also discussed, exploring the similarities they share with me in reclaiming women’s history through artmaking. In addition, the feminist works of Lin Tianmiao and Cui Xiuwen, as well as my own work, are examined to show how contemporary Chinese female artists reject the label of ‘feminist.’ My artwork History can be forgotten and falsified; the purpose of my artwork is to refresh and leave a lasting memory of Chinese women’s suffering and experiences of oppression. Following the flow of my research, my installation work Woman•Horse, 2014–16, mourns the souls of Chinese women lost to history. It contains ten ceramic sculptural works. Each individual piece includes a narrative that describes the lives of and challenges faced by Chinese women from the formation of the cosmos to the present day. The long white strips (signifying footbinding bandages) and red threads hanging down amidst the sculptures embody the long-term oppression of Chinese women and a trace of history. This work has been exhibited at Sydney College of the Arts in September 2016.
21
McEwin, Florence Rebecca. "American women artists and the female nude image (1969-1983)". Thesis, North Texas State University, 1986. http://catalog.hathitrust.org/api/volumes/oclc/23638110.html.
Testo completoAbstract (sommario):
Thesis (Ph. D.)--North Texas State University, 1986.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 367-404).
22
Droth, Barbara Elektra. "Live art, life art : a critical-visual study of three women performance artists and their documentation". Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48339/.
Testo completoAbstract (sommario):
This thesis is a 'practice-led' project that uses observational documentation methods, a long-term collaboration with three live artists, and a narrative analysis to encourage a visual display of 'knowing' the person who makes live art, the performance work itself and the reality of producing and archiving live art. My practice of documenting live performances produces digital representations of the three artists I collaborated with. The fragmented and non-linear expressions of the live performances, which can be viewed in the video documents, also find echo in the life history interviews of the artists. Triangulated with an examination of the artists' websites, these diverse texts provide insight into how the live artists make sense of their embodied autobiographical experiences in a virtual environment. A post-structuralist narrative analysis proposes that the live and online performance-narratives constitute the artists' self as 'an artist' and examines these texts for ideas of the 'self-portrait' and of 'life as experienced'. The research suggests this is especially helpful to the audience's meaning-making processes when engaging with Live Art. The thesis investigates the three artists' representations of the body, specifically their strategies to compel a disruptive reading of nudity, femininity and motherhood. Other performative strategies found in these artists' work lead to discussions on ritual enfleshed in performance, based on Richard Schechner's (1995) understanding of iterative practices, and of participatory incantations that integrate narratives found in myths into narratives of selfhood and community. This thesis aims to develop the understanding of contemporary performance art pratice through examples of three artists' autobiographical performativity in live and online environments. The thesis advances narrative theory beyond its literary framework through a visual and practice-based approach. By linking narrative theory with visual methods this project seeks to demonstrate that experiential approaches could be relevant to narrtaive researches, visual anthropologists, performance ethnographers, as well as live artists, all faced with the inevitability of mediatisation. It contributes to ideas on the digital dispersions of the live artists' identity as not a fracturing of the unified body experienced in live performance but instead as a place for the artists to exercise agency through virtual performativity. The thesis consists of two parts, a website (http://bsdroth.wix.com/thesis2013) and a written text. The online videos and the written text, when read together, form a performative analysis towards the 'knowing who' of the artists. It contributes to the growing interest in methodologies that investigate, document and present cultural experiences and their perceived value. The online presentation of my practice also demonstrates the digital and virtual environment the live artists' work operates in, as exemplified in this thesis. The website is a physical manifestation of integral ideas in this project, around authenticity, ownership and virtual experiences.
23
Brown, Karryn. "HIV-related knowledge and antiretroviral therapy outcomes (ART) in HIV infected women initiating ART during pregnancy". Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29175.
Testo completoAbstract (sommario):
The characteristics of South Africa’s HIV epidemic mean that approximately 28% of women presenting for antenatal care, are HIV-infected. Maternal HIV-infection can lead to mother-to-child transmission (MTCT) of HIV during pregnancy, labour, delivery or breastfeeding if viral load (VL) is not well controlled by antiretroviral therapy (ART). Globally, 90% of pediatric infections occur via MTCT, though lifelong ART is reducing the rate of new infections. Full benefits of ART can only be realized when ART adherence is high. Evidence from South Africa and elsewhere has shown that ART adherence in pregnant and postpartum women is suboptimal. Potential drivers of suboptimal adherence may include poor or inadequate knowledge of HIV and ART. This thesis investigates how HIV-infected pregnant and postpartum women’s knowledge of HIV and ART-related information may be associated with ART adherence as evaluated by HIV VL measures. Components of this thesis include the research protocol, a literature review of previous studies exploring the relationship between knowledge and HIV-related health outcomes in Sub-Saharan Africa and a manuscript describing the results of an investigation into predictors of HIV and ART-related knowledge and the association of knowledge with maternal vireamia (VL>1000copies/mL). This data for analysis came from a cohort of 376 HIV-infected pregnant women, initiating ART during pregnancy, at a primary care antenatal facility in Gugulethu, South Africa. Participants were followed from their first antenatal visit until twelve months postpartum. Knowledge of HIV and ART-related information were assessed at three time points by two knowledge inventories and items were classified as either relating to general knowledge or prevention of MTCT. HIV VL was measured at delivery and twelve months postpartum. Demographic characteristics were surveyed at the first antenatal visit. Analyses included univariable and multivariable regression models to estimate potential predictors of knowledge among demographic and clinical characteristics, as well as to estimate the association between knowledge and maternal vireamia at delivery and twelve months postpartum. We found that HIV and ART knowledge increased marginally over the repeated study visits. Knowledge relating to general HIV or ART information was typically good while knowledge on PMTCT was lacking. Education (OR=-0.52; 95% CI=-0.83- -0.21; P=0.001), previous HIV diagnoses (OR=-0.36; 95% CI=-0.09- 0.63; P=0.009), and weeks on ART at delivery (OR=-0.03; 95% CI=0.00-0.06; P=0.047) were statistically significant predictors of HIV knowledge in adjusted analyses. The associations between the various knowledge outcomes and vireamia at delivery and twelve months postpartum were mixed and generally not statistically significant. In summary, HIV and ART knowledge both increased with increasing time in care and general knowledge was better than knowledge specific to MTCT. Education, timing of HIV diagnoses and time on ART were identified as potential predictors of HIV-related knowledge. Generally, knowledge of HIV or ART was not meaningfully associated with vireamia at delivery or at twelve months postpartum. There remain significant gaps in the knowledge of HIV-infected women, of childbearing age, around how HIV is transmitted and how to reduce the risk of MTCT.
24
McDonald, Michelle. "Selling Utopia marketing the art of the women of Utopia /". Master's thesis, Australia : Macquarie University, 1999. http://hdl.handle.net/1959.14/15101.
Testo completoAbstract (sommario):
Thesis (MA)--Macquarie University, Institute of Early Childhood.Includes bibliographical references.
Introduction -- Literature review -- A brief history of Utopia's art production; its place in the indigenous art movement -- The role of the wholesaler -- The retail sector -- Report on survey of the buyers of indigenous art -- Emily Kame Kngwarreye -- Authenticity -- Conclusion.
Summary: The thesis focuses on marketing art from the Aboriginal community, Utopia, where the majority of artists, and the best known artists, are women. It documents methods by which the art moves from the community to retail art outlets; it includes detailed documentation of marketing in the retail sector and also includes research into the buying of indigenous art by private buyers. -- Emily Kame Kngwarreye is the best known of the Utopia painters. The study proposes reasons for her success and points to further questions beyond the scope of this study. Problems inherent in criticism and editing of her work are raised and interpreted in the context of the marketplace. -- The original thesis plan did not include detailed discussion about authorship. However, in 1997 the media reported controversy about authorship of a prize-winning work. As such controversy must affect marketing, this topic (as it relates to this artist), was included. -- Although possibilities for improvement in marketing methods have become apparent as a result of this research, areas where further research would be beneficial have also become apparent.
Mode of access: World Wide Web.
265, [48] p
25
Clark, Gayle Shaw. "Sexuality social and cultural constructs of women represented through art /". Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/spring2008/gayle_r_shaw/Clark_Gayle_S_200801_MFA.pdf.
Testo completoAbstract (sommario):
Thesis (M.F.A.)--Georgia Southern University, 2008."A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts." Under the direction of Elizabeth Jane Pleak. ETD. Electronic version approved: May 2008. Includes bibliographical references (p. 65-75)
26
Xue, Grace H. "Space Between: Asian-American Women Identity, Culture and Contemporary Art". Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/765.
Testo completoAbstract (sommario):
An exploration and analysis on the connections between identity, culture and contemporary art. A number of critical race theories are examined as possible constructions of Asian-American women identities. This paper seeks to understand how Asian-American women reconcile with these strivings and limitations and how they maintain their native racial identities despite their conflicting desire to conform to the mainstream culture. This paper also examines two contemporary women artists who promote a dialogue regarding transcultural identities.
27
Mantzari, Despoina. "Women directors in 'global' art cinema : negotiating feminism and representation". Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/48685/.
Testo completoAbstract (sommario):
The thesis explores the cultural field of global art cinema as a potential space for the inscription of female authorship and feminist issues. Despite their active involvement in filmmaking, traditionally women directors have not been centralised in scholarship on art cinema. Filmmakers such as Germaine Dulac, Agnès Varda and Sally Potter, for instance, have produced significant cinematic oeuvres but due to the field's continuing phallocentricity, they have not enjoyed the critical acclaim of their male peers. Feminist scholarship has focused mainly on the study of Hollywood and although some scholars have foregrounded the work of female filmmakers in non-Hollywood contexts, the relationship between art cinema and women filmmakers has not been adequately explored. The thesis addresses this gap by focusing on art cinema. It argues that art cinema maintains a precarious balance between two contradictory positions; as a route into filmmaking for women directors allowing for political expressivity, with its emphasis on artistic freedom which creates a space for non-dominant and potentially subversive representations and themes, and as another hostile universe given its more elitist and auteurist orientation. The thesis adopts a case study approach, looking at a number of contemporary art films from diverse socio-political contexts. It thus provides a comprehensive account of how women are positioned within art cinema as subjects and as filmmakers. The thesis uses a social historical approach in looking at the texts as well as the contexts these texts operate within. In analysing how female directors voice feminist concerns through a negotiation of political and artistic preoccupations, the thesis aims to reclaim art cinema as a cultural field that brings the marginal closer to the mainstream and thus functions for feminism as the site of productive ideological dialogue.
28
Tolley, Rebecca. "Review of Art/Women/California 1950-2000: Parallels and Intersections". Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etsu-works/5714.
Testo completo
29
Strasik, Amanda Kristine. "Reconceiving childhood: women and children in French art, 1750-1814". Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/5647.
Testo completoAbstract (sommario):
My dissertation examines visual representations of children and childhood in French art from the 1750s until the first decades of the nineteenth century. This period in France is distinct because of the sweeping social and political changes with which images of children and childhood were in dialogue, including the redefinition of bourgeois familial relationships, new medical discoveries that influenced how artists interpreted the human mind and body, the chaos of the French Revolution, and the rise of Napoleon and his codification of the laws of nature.
By 1750, Enlightenment thinkers and social reformers viewed the education, nurturing, and protection of innocent children as among the fundamental moral acts that defined humanity. Childhood, once considered insignificant, became a special period of human development that women were naturally suited to cultivate. Amidst the corruption of the Ancien régime, the violence of the French Revolution, and the instability of the state, children were unthreatening emblems of social regeneration and hope.
Throughout my dissertation, I explore how the complex written and visual language of nature informed artists’ conceptions of children and childhood during the long eighteenth century. Opposing themes of nature’s wildness, containment, wholesomeness, and mysteriousness in different forms paralleled discourses on children and child-rearing. Prominent eighteenth-century artists like Chardin, Boucher, Fragonard, Greuze, Vigée Lebrun, Marguerite Gérard, and others analyzed contemporary scientific, philosophical, artistic, and pedagogical movements to depict children naturally. Even when Romantic artists like Géricault or Prud’hon imagined nature as a dangerous or mystical entity, the emphasis on the unique truthfulness of a child’s character continued to be a subject of great interest, especially when the scientific community recognized child psychology and pediatrics as their own fields of medical study in the early nineteenth century.
Compared to studies that have broadly surveyed the ideologies of childhood as reflected in art, my dissertation investigates the socio-historical contexts in which representations of children were commissioned, produced, and displayed. Why did revolutionary events, artists, and patrons appropriate images of the enlightened child? I propose that representations of children from this period offer indisputable symbolic value: they functioned emblematically to advance the morality of a woman’s reputation, or to philosophically communicate an idea about the state of French society during key moments of social and political upheaval. Through a study of images of pastoral children for Madame de Pompadour, representations of bourgeois children with pets, portrayals of the royal children during the French Revolution, and Romantic depictions of children in portraiture, my dissertation traces the socio-historical implications of the representations of children and childhood to make way for new interpretations of artworks.
30
Tyreman, Katie. "Between Women: Visualizing Victorian Women Artists’ Identities through Art Movements, Media and Scale, c. 1848-1898". Thesis, University of York, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594222.
Testo completo
31
Long, Jessica X. "She Inked! Women in American Tattoo Culture". Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1588796599281498.
Testo completo
32
Gentry, Deborah Suiter. "The art of dying : suicide in the works of Kate Chopin and Sylvia Plath /". New York [u.a.] : Lang, 2007. http://www.loc.gov/catdir/toc/ecip0618/2006025137.html.
Testo completo
33
Tupper, Denise. "My Family of Women: Celebrating Blackness and Exploring Themes of Black Feminism". Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/182.
Testo completoAbstract (sommario):
This paper maps themes (e.g. family, beauty, femininity, gender, blackness, representation) and artists from the Black arts and Feminist art movement who have been very influential when planning this senior art project. I specifically look at the works of Black feminist artists such as Betye Saar, Faith Ringgold, Carrie Mae Weems, Kara Walker, and Mickalene Thomas who navigate themes from both movements. In my project I have painted a series of interpretive acrylic portraits of close friends and family members, all adapted from photographs.
34
Baert, Renee. "Poetics of the body in feminist art : three modalities". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0022/NQ29882.pdf.
Testo completo
35
Lin, Wennifer. "Birth art and the art of birthing creation and procreation on the 'Äina of Tütü Pele /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1675789081&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Testo completo
36
Kim, Gumsun. "A question of equality : women and women's art under patriarchal society". Thesis, View thesis, 1995. http://handle.uws.edu.au:8081/1959.7/358.
Testo completoAbstract (sommario):
In the past and present the inter-gender relationship has been based on male domination resulting in the overlooking of the female role and value. Many male-inspired theories helped to establish this hierarchical relationship and to perpetuate the belief that men and women have been created differently and not equally privileged. My research on the status of Korean women verifies these theories by examining how much social and cultural conditions have contributed to the difference between the genders to the disadvantage of women. It also reveals the distortion of patriarchal theories by investigating the principle of Confucianism which led to the depravation of Korean women's opportunities to develop themselves. The present level of achievement for women's equality is the result of these women's struggles. I as a women artist, present my work so that it will help both men and women to raise their awareness and to eliminate the prejudice towards females in society. The early principle of the Yin and Yang, distorted later for political benefits, implied a cooperative relationship of two forces for creation and development. Although these force are different and independent, when used cooperatively, they make a complete picture of stability and harmony. If they remain separate forces there is no resulting completion of creation, but instability and misfortunes. By disclosing this principle of harmony in Shamanism and early Confucianism, I also present the notion that all kinds of misfortunes come out of a broken harmony between creatures, peoples, and genders.
37
Kim, Gumsun, of Western Sydney Nepean University e Faculty of Visual and Performing Arts. "A question of equality : women and women's art under patriarchal society". THESIS_FVPA_XXX_Kim_G.xml, 1995. http://handle.uws.edu.au:8081/1959.7/358.
Testo completoAbstract (sommario):
In the past and present the inter-gender relationship has been based on male domination resulting in the overlooking of the female role and value. Many male-inspired theories helped to establish this hierarchical relationship and to perpetuate the belief that men and women have been created differently and not equally privileged. My research on the status of Korean women verifies these theories by examining how much social and cultural conditions have contributed to the difference between the genders to the disadvantage of women. It also reveals the distortion of patriarchal theories by investigating the principle of Confucianism which led to the depravation of Korean women's opportunities to develop themselves. The present level of achievement for women's equality is the result of these women's struggles. I as a women artist, present my work so that it will help both men and women to raise their awareness and to eliminate the prejudice towards females in society. The early principle of the Yin and Yang, distorted later for political benefits, implied a cooperative relationship of two forces for creation and development. Although these force are different and independent, when used cooperatively, they make a complete picture of stability and harmony. If they remain separate forces there is no resulting completion of creation, but instability and misfortunes. By disclosing this principle of harmony in Shamanism and early Confucianism, I also present the notion that all kinds of misfortunes come out of a broken harmony between creatures, peoples, and genders.Master of Arts (Hons)
38
Vance, Sylvia. "The art of peace : pacifism and women writers of the 1930s". Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361668.
Testo completo
39
Joo, Ha Young. "The travelling body : contemporary art by women from the Korean diaspora". Thesis, University of Leeds, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505053.
Testo completoAbstract (sommario):
This thesis examines my own practice-led project. Change of Direction, produced during the period of doctoral research (2005-2009). The research is concerned with Korean women artists who live and work outside Korea or in-between home and host countries, and it endeavours to explore issues related to the body as a site of changing identity in contemporary women's art from the Korean diaspora. The research focuses on Korean women's art since 1970, taking this as a significant time in the development of the Korean women's art movements; and how Korean women artists have explored their identities in art, as Koreans, as women and as artists. Korean women's art is also researched in the context of the complexity of Korean historical, political and social developments, the influence of Western cultures, and the relationship between the East and the West.
40
Kidder, Alana D. "Women Artists in Pop: Connections to Feminism in Non-Feminist Art". Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.
Testo completo
41
Perry, Lara Ann. "Facing femininities : women in the National Portrait Gallery, 1856-1899". Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/2479/.
Testo completo
42
Auanger, Lisa. "A catalog of images of women in the official arts of ancient Rome /". free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841130.
Testo completo
43
Missia, Frano G. "Painting the nude by male artists in Western art /". Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396210.
Testo completoAbstract (sommario):
Thesis (Ed.D.)--Teachers College, Columbia University, 1993.Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Rene Arcilla. Includes bibliographical references (leaves 112-113).
44
Barnes, Diana C. "How Women Use Art and Art Therapy to Cope With Breast Cancer: A Systematic Exploration of Published Literature". Digital Commons at Loyola Marymount University and Loyola Law School, 2015. https://digitalcommons.lmu.edu/etd/148.
Testo completo
45
Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /". Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.
Testo completo
46
Wade, Bussey Sahirah Fatin. "Pre-Service Art Teachers and the Use of Feminist Curriculum and Pedagogy in the Art Classroom". Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/18.
Testo completoAbstract (sommario):
The purpose of this study was to determine answers to several research questions: 1.) What do pre-service teachers know about feminist pedagogy or teaching in ways that are culturally responsive? 2.) In what ways are pre-service teachers prepared to use feminist pedagogy? 3.) How is a lesson constructed utilizing a feminist curriculum? All participating pre-service Art Education students completed a Survey of Art History, a questionnaire of their background in Art History, a questionnaire on their ideas of feminist pedagogy, and completed a group brainstorming of lesson plans. Data was analyzed from student responses. Results support the need for teaching more feminist content and pedagogy. Recommendations are made for further research.
47
Photiou, Maria. "Rethinking the history of Cypriot art : Greek Cypriot women artists in Cyprus". Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/12139.
Testo completoAbstract (sommario):
This thesis brings together women artists art practices situated in five key periods of Cyprus socio-political history: British colonial rule, anti-colonial struggle, 1960 Independent, the 1974 Turkish invasion and its aftermath of a divided Cyprus, which remains the case in the present day. Such study has not been done before, and for this, the current thesis aims to provide a critical knowledge of the richness and diversity of Greek Cypriot women's art practices that have frequently been marginalised and rarely been written about or researched. As the title suggests, this thesis engages in rethinking the history of Cypriot art by focusing on the art produced by women artists in Cyprus. By focusing primarily on the work of Greek Cypriot women artists I am interested to explore the conditions within which, through which and against which, women negotiate political processes in Cyprus while making art that is predominantly engaged in specific politicised patterns. The meeting point for the artists is their awareness of being women artists living in a colonised, patriarchal country under Greek Cypriot nationality. While these artists assumed very different positions in their experience of the several phases of Cyprus history, they all negotiate in their practice territorial boundaries and specific identity patterns. Significant to my thesis are a number of questions that I discuss in relation to women artists professional careers and private lives: nationalism, militarism, patriarchy, male dominance, social and cultural codes, ethnic conflict, trauma, imposed displacement through war, memory and women's roles, especially as mothers, in modern and contemporary Cyprus. Thus, I address questions of how women artists in Cyprus experienced such phenomena and how these phenomena affected both their lives and their art practices.
48
Poole, Tanya Katherine. "An exploration of female physicality and psyche and how these inform art-making". Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002215.
Testo completoAbstract (sommario):
This thesis proposes that female physicality informs the psyche and thus in turn, art-making. My argument will be shown to be apposite and informative to the discussion of the work of Paula Rego, Jenny Saville and Cindy Sherman. Furthermore such an understanding is helpful to a reading of my practice. In examining issues of identity, which contribute to the formulation of a distinctly female psyche, I will base my critique on the philosophical positions of Sartre, de Beauvoir and Paglia.
49
Albekord, Nargges S. "Naked women the unity in dialectic forces". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4830.
Testo completoAbstract (sommario):
This study investigates my art works, their context, content, and the process by which they were produced. The first part of the study addresses my background ideas and philosophies, their impact on my works, and the environmental and psychological context which made those ideas relevant to my paintings. I am not concerned with answering the usual questions, What is art? and Who is an artist? My intention is to find out who I choose to be and what I choose to do. The second part investigates the form and design of the art works--from the materials used to make them to the various formal elements utilized in creating them. The connection of form and content in these art works is emphasized. The last part of the study investigates the influences of a few significant artists and the impacts of their works on my art. The future of my art work is, of course, not predictable, and it does not depend on this study. This study is only as factual, reliable, and truthful as my art work is.ID: 029809463; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 48-52).
M.F.A.
Masters
Art
Arts and Humanities
Art and Design
50
Dennis, Deanna Elizabeth. "An Ethnographic Study of Six Ecuadorian Indigena Women Who Make Shigras". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1380889429.
Testo completo