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Bydler, Charlotte. "The global art world inc. : on the globalization of contemporary art /". Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4309.
Pełny tekst źródłaMadani, Adnan. "Formations of the contemporary : Islam, globalization and art". Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18894/.
Pełny tekst źródłaCombs, Nicole E. "Postmodernism, Globalization and the Connections to Contemporary Chinese Art". Thesis, University of Oregon, 1999. http://hdl.handle.net/1794/22587.
Pełny tekst źródłaThe reopening of China's economic and cultural doors in the 1970s provided the fundamental stage for development of a new art. The Chinese government focusing its efforts on economic development created policies that actually encouraged an awareness of global culture, tending to an environment conducive to artistic change. The 1980s supplied artists with an introduction to, or reintroduction to Western art theory and practice. Many artists continued to work in traditional style and technique, but others, under the influence of non-Chinese modern art, began infusing their works with a dramatically different feel inspired by the changing society. As a dialogue between global culture and China, Chinese contemporary artists are creating a discourse on the transformation taking place within their society over the past two decades. It is therefore important to look at their art as a "registering apparatus" and realize that its production stems from a reaction to the postmodern, global culture.
Yoo, Ahyoung. "To Be Two Places at Once: Technology, Globalization and Contemporary Korean Art". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500618781488661.
Pełny tekst źródłaRapp, Karen M. ""Not the romantic west" : site-specific art, globalization, and contemporary landscapes /". May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
Pełny tekst źródłaHancox, Simone. "Global art in an age of global performance : complicity and critique". Thesis, Queen Mary, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612580.
Pełny tekst źródłaPerkins, Morgan. "Reviewing traditions : an anthropological analysis of contemporary Chinese art worlds". Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365526.
Pełny tekst źródłaMilton-Smith, Melissa. "A conversation on globalisation and digital art". University of Western Australia. Communication Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0057.
Pełny tekst źródłaKoh, Bee Kim. "Coming into Intelligibility: Decolonizing Singapore Art, Practice and Curriculum in Post-colonial Globalization". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397669338.
Pełny tekst źródłaBassene, Reine. "L'art contemporain africain : enjeux et perspectives face à l'émergence du marché de l'art globalisé". Thesis, Nice, 2013. http://www.theses.fr/2013NICE2046/document.
Pełny tekst źródłaThe contemporary African art has made its entry into the globalized system, first through artistic exhibitions then in the auction houses. Since the 1960s’ a new vision of contemporary African art has emerged with the postcolonial discourse. These ideas have led to a different reading of the contemporary African aesthetic with the support of some curators. Meanwhile, a vision of the “authentic” artist remains in many European and American exhibitions. African artist give an image that can sometimes seem fossilized The contemporary African artists today find themselves in a situation, which can be source of conflicts. They can get close to the artistic centers pulse which means the Western art market or stay on the African continent and try by different initiatives to include a market which is still outlying areas like western countriesThe other areas however gradually mutate into centers pulse but remain modest for the time being. With the advent of new technologies, opportunities exist for artists from the third world in terms of use but also as media. Their application pushes the reflection, and then attempt to understand the challenges that lies ahead for contemporary African art and perspectives that will glimpse through the paradigm of postcolonial studies and through the advent of technologies of information and communication. Is it possible to suggest new approaches to promote the dissemination of contemporary African art through socio-technical devices available but also through information management? The first part, this thesis attempts to show the diversity of the arts of Africa to understand it’s complexity today. Then by analyzing the relationship it has with the West, to understand it’s history.The second part tries to understand the identity of the African artist but also its positioning and initiatives that are carried out on the continent will better understand the challenges and opportunities.The third part will give a point of view overall which today governs contemporary African art
Deschka, Anne. "Artistic dribblings cultural relocation of Hong Kong's contemporary visual art scene ten years after the handover /". Thesis, Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38762432.
Pełny tekst źródłaKutesko, Elizabeth. "Fashioning Brazil : globalization and the representation of Brazilian dress in National Geographic". Thesis, Courtauld Institute of Art (University of London), 2016. http://ualresearchonline.arts.ac.uk/12111/.
Pełny tekst źródłaSharma, Manisha. "Indian Art Education and Teacher Identity as Deleuzo-Guattarian Assemblage: Narratives in a Postcolonial Globalization Context". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339617524.
Pełny tekst źródłaDuffy, Owen. "Anish Kapoor: The Formation of a Global Art". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/508.
Pełny tekst źródłaZabolinezhad, Hoda. "A la recherche de la figure de l'artiste contestataire contemporain, dans le cadre de la mondialisation : le cas particulier des artistes contestataires iraniens". Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC005.
Pełny tekst źródła"The analytical philosophers of art and the conceptual artists have in common to refuse the theorization and the search for the beautiful as idea or norm, to pose instead a definition of art as a symbolic function always to decrypt from itself and its own language, without applying to it an essence a priori "explains Dominique Chateau (French esthetician, born in 1948). In other words, it is the aesthetics of logical empiricism and pragmatism. The reference to a part of the introduction to the first issue of the Revue francophone d'esthétique, under the direction of Frédéric Wecker, written by Jean-Pierre Cometti, Jacques Morizot and Roger Pouivet, clarifies the objective of this aesthetic theory. ; "[...] Would aesthetic problems have dissolved in the generalized media? Are they doomed to nourish a brilliant essayism but without theoretical significance? Should we give the floor to historians, social scientists or professionals in the art world? That is not our conviction. We want to bet on an aesthetic approach open to all the manifestations of art and that claims a bias of conceptual analysis and critical argumentation. In fact, it is not enough to appeal to a fundamental anthropological dimension, nor to stick to the petty currency of events and events. Like any discipline of any ambition, aesthetics must be able to construct its own objects and revise its results and procedures: this is its only guarantee of escaping the frenzy of interpretation. "Regarding this reflection the analytical aesthetic is a constant dialogue with the avant-garde works of art of modern and contemporary art, notably those of Duchamp and Warhol, emphasizing a set of sometimes heterogeneous aesthetic theories; far from traditional theories, all these theories reject the beautiful as an essential principle of what has become known to art, that is to say the work of art. [...]
Takeuchi, Reina. "Bodies of transmission: Embodiment, hybridity and transculturation in contemporary art and performance practice". Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/208262/1/Reina_Takeuchi_Thesis.pdf.
Pełny tekst źródłaGharsalli, Awatef. "L'art contemporain en Tunisie : les enjeux sociaux et internationaux". Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100031/document.
Pełny tekst źródłaContemporary art in Tunisia was seen at the margin of contemporary art. What are the reasons that hide its recognition? In order to break with all the colonial and Orientalist representations, the artists of the youth generation who come after the independence, tried to be known all over the world and stick into modernity while preserving their identities and affiliations. They turned, as a result, to the patrimony and calligraphy in order to « tunisify » their abstract paintings. At the beginning, the Abstract art was defined as a liberating adventure. Later on the absence of critique which was not curious, or even corrupted, the commission of purchase selects arbitrarily the works and artists; Tunisian artists have taken refuge in abstract art to bury its reality, or to get the consent of the buying commission. By dint of repeating and re-repeating they fell into the conformism and anarchism which generate a mediocrity of style and pictorial stagnation. While some fall into lethargy endless lethargy, others will attempt to communicate implicitly their distress and discomfort. Besides, artists remain at the margin of a national artistic recognition due to many social issues. On the international scale, two or three decades ago, it was unimaginable to look back on non-occidental artistic production with ethnographic point of view and later when the borders were abolished, those who moved to the visibility did it with rules imposed from the outside. Artists was relieved by the revolution, after breaking the wall of silence, of fear, of the forbidden. But the liberation of art as the fate of democracy could also be accompanied by a back to the symbolic censorship of a narrow democratic landscape. It is probably the challenge of Tunisian art today. This thesis discusses, then, the topic of art history through historian’s approaches and critics view
Gawronski, Alex. "No new Utopia? : the crisis of art as critique under globalisation". Phd thesis, Sydney College of the Arts, 2005. http://hdl.handle.net/2123/3967.
Pełny tekst źródłaAguirre, Lina. "ENTRE LA VULNERABILIDAD Y EL GOCE: PRECARIEDAD Y GLOBALIZACION EN EL ARTE JOVEN CHILENO ACTUAL". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345488169.
Pełny tekst źródłaCastets, Sylvie. "L'exotisme : un art du débordement". Thesis, Pau, 2016. http://www.theses.fr/2016PAUU1005/document.
Pełny tekst źródłaArt today is partly made of mobilities and forms so diverse that according to art critics and curators such as J. H Martin or Bao Dang, the feeling of exoticism still exists. Besides one may be surprised that in the age of globalization that feeling is so vivid . Indeed it is,but it is also different from that particular feeling that gave the European travellers of the eighteenth and nineteenth centuries the certainty that they were superior to the other people. Indeed V. Segalen gave exoticism another definition laden with aesthetic and ethical values.Through exoticism it was no longer a question of describing a thing, a region or even a human being but of considering a profound experience of the difference viewed as being resolutely different.As for the world of Art, it let itself be filled by exoticism and it has produced a vast number of masterpieces, creating in their own way diversions of all kinds. The purpose of my research will then be to analyze the characteristics and what is at stakes in exoticism, under the pretence of studying the plastic constituents of a painting.The game of analogies between the spaces- either realistic or as they are represented- will allow to single out in detail some aspects of a geo- aesthetics and more generally to make it obvious that there is not ONE world of Art but several
Hill, Phyllis Thelma P. "A case study exploring the development of The Jamaica Masters Online Project". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1158257796.
Pełny tekst źródłaMacPherson, Sandra. "From Spectator to Citizen: Urban Walking in Canadian Literature, Performance Art and Culture". Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37321.
Pełny tekst źródłaTellier, Domitille. "Un monde de l'art inachevé ? : institutions et artistes mélanésiens à l'épreuve du marché international (de 1968 à nos jours)". Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H040.
Pełny tekst źródłaThe end of the Cold War marks the beginning of the acceleration of globalization of contemporary art. Due to their recognized regional artistic diversity, artists from all continents were represented at “Les Magiciens de la Terre” exhibition. While new critical theories are assessing anew the history of art of the Global South, the Melanesian art world itself, with its own conventions, techniques, materials and exhibition modes has become more organized. Rules founded on the values of tradition, authenticity, and innovation can either legitimize or repress the circulation of artists and their works. The traditions have created a social framework surrounding Melanesian art that can greatly limit the visual experience of viewers, and restrict the global visibility of contemporary Melanesian arts. Now that the globalization of art is a major topic of discussion, it is important to advertise the characteristics and limitations of art from this region of the Pacific islands. It would not be right to try to force Melanesian art onto an international art market. However, new ways to describe the history of Melanesian art in this era of globalization should be considered. By creating something original, Melanesian art can elicit novel emotional responses to art, which deserve to be widely appreciated
Buffington, Adam. "In Relation to the Immense: Experimentalism and Transnationalism in 20th-Century Reykjavik". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587637102245713.
Pełny tekst źródłaGabsi, Ouafa. "L'art contemporain du Sud de la Méditerranée : à la recherche d'une identité, d'une place et d'une reconnaissance à l'heure de la mondialisation". Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010508.
Pełny tekst źródłaHow is contemporary art of the southern Mediterranean perceived and cognized by experts in the world of Western art ? It is this very question which actually interested us. To answer this, we had to understand the links between art and globalization and discuss the contributions of cultural and postcolonial studies related to this subject. From that initial question, we have gathered and studied hegemonic discourses involved in the field of culture, negotiation processes, differences policies and modes of identification of the artists from the South in an ethnocentric vision. To carry out our research, we conducted two studies. The first concerns a thematic study of the headings of international exhibitions on contemporary art from the south of the Mediterranean (Europe and the United States from 1999 to 2014). We support the idea that the subjects of exhibitions convey a discourse that reflects the cultural ideas of Western hegemony and trends concerning genre, ethnicity, class, confining the status of the southern Mediterranean artist to a "peripheral" role. The second survey which is comprehensive in nature, deals with the beliefs of the southern Mediterranean artists and their positioning in comparison with identity markers in the construction of ethnic categories. How do they perceive these markers, do they give them some recognition ? This study was conducted before and after the revolutionary movements of the Arab Spring
Ellwanger, Giovana. "A arte de Paulo Nazareth : perspectivas locais e globais em sua circulação". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/150901.
Pełny tekst źródłaThe artist Paulo Nazareth (Governador Valadares/MG, 1971) develops a poetic in which walkings represent important actions that set dialogs linked to his ethnical origins, black and indigenous. He transits between peripheral and central spaces, resulting in differentiated flows. These actions become meaningful in the present geopolitical context of globalization, what sets, in art domain, tensions between hegemonic and peripheral spaces. From this scene, the research seeks to understand in which way the artist’s actions, in international circulations, discuss his position in global art field. For this purpose, had choose a case analysis about the artist’s actions in the 2013 and 2015 Venice Biennales and in the Venice Biennales / Neves, simultaneous shows to the italian event, occurred in Ribeirão das Neves / MG city’s periphery. Through the field research, it’s possible to study this event’s constitutions, as well as in collecting data with the artist and his representing gallery.As theorical marks of this research, the theory of the dérive (drift) created by Situationist International, are emphasized, as well as authors who analyze this practices in art. The post-colonial and decolonial studies are also important marks, through its relations with contemporary art. Finally it is understood that Paulo Nazareth’s actions at analyzed expositions set important changes at flows between centers and peripheries, overcoming much of institutional interventions.
Daniels, Marcel. "Ambivalent realities : postcolonial experiences in contemporary visual arts practice". Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/68049/1/Marcel_Daniels_Thesis.pdf.
Pełny tekst źródłaRink, Juliana. "Analise da produção academica apresentada nos encontros de pesquisa em educação ambiental (EPEA)". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251576.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-15T09:12:57Z (GMT). No. of bitstreams: 1 Rink_Juliana_M.pdf: 2369419 bytes, checksum: 188fe09b0c5b8cae8ad54242de151d07 (MD5) Previous issue date: 2009
Resumo: O presente trabalho caracteriza-se como uma pesquisa do tipo Estado da Arte e tem por objetivo descrever e analisar as características e tendências da produção científica apresentada sob a forma de artigos nos quatro Encontros de Pesquisa em Educação Ambiental (EPEA), realizados nos anos de 2001, 2003, 2005 e 2007. Os 303 trabalhos completos foram estudados a partir dos seguintes descritores: autor do artigo; instituição de origem; nível educacional; área de conhecimento e foco temático do estudo. Os resultados apresentam dados sobre a base institucional da produção, revelando forte desequilíbrio inter-regional da mesma, que se encontra deslocada para o eixo Sudeste-Sul do país; além de claro predomínio de autorias vinculadas às instituições promotoras dos Encontros - Unesp, USP e UFSCar. Revelam também: (a) o forte interesse com questões voltadas para o ensino escolar Formal, prevalecendo os trabalhos que abrangem os vários níveis escolares de maneira genérica (22%), ou aqueles voltados para a Educação Superior (16%) ou Anos Finais do Ensino Fundamental (13%); (b) a falta de investigações ligadas à Educação Infantil e aos Anos Iniciais do Ensino Fundamental; (c) que grande parcela da produção não privilegia uma área de conhecimento específica relativa à Educação Ambiental (45%), embora haja quantidade significativa de estudos ligados à Ecologia (11%); (d) o predomínio de investigações que mapeiam ou abordam as Características e Concepções de Indivíduos (33%) sobre algum aspecto da Educação Ambiental, seguido por um conjunto de trabalhos com foco temático em Fundamentos Teóricos e Curriculares em/para Educação Ambiental (29%); além de parcela significativa de artigos voltados para Conteúdos e Métodos em Educação Ambiental (10%). O trabalho ainda aponta elementos importantes para reflexão sobre a pesquisa em Educação Ambiental e sobre a constituição dos EPEAs enquanto promotores da divulgação das pesquisas na área, sinalizando para a necessidade de se ampliar e estimular a difusão da produção acadêmica brasileira em Educação Ambiental.
Abstract: This work is characterized as State of the Art research and aims to describe and analyze the characteristics and trends of scientific production presented in four encounters Research in Environmental Education (EPEA), conducted from 2001, 2003, 2005 and 2007. The 303 complete papers were studied from the following descriptors: author of the article, the home institution, educational level, knowledge, and the thematic focus of the study. The results provide data on the institutional basis of production, showing strong inter-regional imbalance of the same, which is moved to the South-south, in addition to the predominance of authorship related to the institutions promoting the encounters - UNESP, USP and UFSCar. They also reveal: (a) strong interest in issues facing the school formal, whichever works covering the various grade levels in a generic way (22%) or those pursuing higher education (16%) or the Final Years Elementary school (13%) (b) the lack of investigations on the Early Childhood Education and Early Years of Elementary Education, (c) that a large portion of production does not favor a specific area of expertise on environmental education (45%) although there are significant number of studies related to ecology (11%) (d) the predominance of research that maps or address the characteristics and conceptions of individuals (33%) on some aspect of Environmental Education, followed by a series of works focused theme in Theoretical Foundations and Curriculum in / for environmental education (29%), besides a significant portion of articles focused on Contents and Methods in Environmental Education (10%). The work also shows important elements for reflection on research in environmental education and the formation of EPEAs while promoting the dissemination of research in the area, indicating the need to expand and encourage the dissemination of the Brazilian academic production in Environmental Education.
Mestrado
Ensino, Avaliação e Formação de Professores
Mestre em Educação
Varde, Abhijit. "Local looking, developing a context-specific model for a visual ethnography a representational study of child labor in India /". Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1132682652.
Pełny tekst źródłaIvanova, Tsvétélina. "Littérature et paysage mondial". Thesis, La Rochelle, 2017. http://www.theses.fr/2017LAROF002.
Pełny tekst źródłaThe doctoral thesis proposes to effectuate an analytical and comparative reading of the literary production that took place during the first and second modernist globalization in the Late modern period. According to the logic of the world economic evolution of Kondratiev wave, it would be the period of modern aesthetic and literary creation between 1850 and 1920, postmodern between 1950 and 1990, and hypermodern from 2000 onwards. In order to ascertain whether the modernist, post- and hyper- modernist, colonial and postcolonial novel could acquire the status of world literature (Weltliteratur) based on the dualistic unity of the capitalist world-system theory and on the idea of modern anti-modernism ; as Baudelaire defined it in 1863 in The Painter of Modern Life (Le peintre de la vie moderne). The thesis proposes to explain the antagonistic unity of the notion of world literature and to affirm it as a modern "total work of art" (Gesamtkunstwerk), through the parallel verification of the existence of a literary world landscape. The latter, also based on a dualistic approach - aesthetic /stylistic and phenomenological - would be the (anti)modernist product of the two periods of capitalist globalization
Slitine, Marion. "La Palestine en créations. La fabrique de l'art contemporain, des territoires occupés aux scènes mondialisées". Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH098.
Pełny tekst źródłaCombining historical, socio-anthropological and artistic approaches, the thesis aims to shed new light on the contemporary situation of Palestine and the modes of Occupation, through the analysis of its worlds of contemporary art since the 1990s which have seen an unprecedented development of its infrastructure. In a context of growing political and territorial fragmentation, a new generation of artists has emerged which gradually succeeds in transgressing the constraints at work on the ground, to access through their artistic practices and the resulting worldviews, to the scenes of international contemporary art.Through a multilocated ethnographic study, the thesis aims to retrace the fabrication of this contemporary art, focusing on the study of plastic artists from the Occupied Palestinian Territories. It is a question of observing their daily practices, the factors that hinder them as well as the new windows of opportunities and circulations induced by the globalized art market. Starting from the individual paths of these moving creators, the research questions the forms of rupture or continuities engendered by globalization whether in their modes of engagement (artistic and political) or in their relationship towards nationalism, in order to rethink the relationship between art and politics
Weiss, Gaëlle. "Création africaine et mondialisation : la collection Lebaudy-Griaule : quel rapport à la création ?" Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAG063.
Pełny tekst źródłaThrough the example of Lebaudy-Griaule’s collection of the University of Strasbourg, this research tries to answer, according to an interdisciplinary approach, to interrogations related to the evolution of African creation, in our globalized context, and, particularly, in Burkina Faso, cultural area determined by the origin of the masks a-dunε koromba of our corpus. The first part consists of a historical exploitation of the collection to understand the conditions of collecting artifacts and the new values which they were invested by "decontextualization". The second part is the opportunity to document the artifacts of our corpus and analyze the evolution of traditional creation in situ. The third part focuses on the relationship between contemporary art and traditional African creation in the era of globalization
Kuo, Chien-hua. "A post-colonial critique of the representation of Taiwanese culture in children's picturebooks". Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1124153596.
Pełny tekst źródłaTitle from first page of PDF file. Document formatted into pages; contains xvi, 312 p.; also includes graphics (some col.). Includes bibliographical references (p. 305-312). Available online via OhioLINK's ETD Center
Quintana, Marín María Isabel. "Du cubisme à d'autres cathédrales : Diego Rivera et l'"Art Social" d'Elie Faure". Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H032.
Pełny tekst źródłaMoving to Paris in 1911, Diego Riverais won over to Cubism only to return to Realism in 1918. During that period, he builds a rich friendship with Elie Faure, a socialist like him. Faure sees in the artist ''an endless source of surprises and lessons." Rivera considers the art historian Faure as one of his "masters. "Elie Faure has an understanding of society based on the contribution of individuals who have changed thinking and the art since the French Revolution : Saint-Simon, Nietzsche, Dostoïevski, Tolstoï, Cézanne, and others. Declaring the end of the individualistic spirit of the Renaissance, he announces the beginning of a collective rhythm of social and monumental artistic expressions, especially in architecture, with the intention to "construct" by painting as an indication. The French Middle Ages provides Elie Faure with a paradigm of collective order and "Social Art," of which the cathedral is the most perfect expression - a manifestation of perfect human collaboration and a symbol of a civilization. In 1921, having decided ta campaign for the establishment of a new social order, Rivera returns ta his country. He is passionate about the socialization of art and architecture. His speech and his actions reveal his intellectual affinity with the French art historian and show a willingness to carry to completion "Social Art. "However, the painter 's ideas evolve with the political, social, and cultural events of Mexico, taking into account the global context. This Franco-Mexican exchange illustrates the complexity of the transfers that lead to the current globalization of artistic discourse
Miller, Jennifer Marie. "Teaching and Learning Through a Multimodal Fair Trade Curriculum". The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211995110.
Pełny tekst źródłaBarriendos, Rodríguez Joaquín. "La idea del arte latinoamericano. Estudios globales del arte, geografías subalternas, regionalismos críticos". Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/110924.
Pełny tekst źródłaThis PhD research project analyzes the interplays between latinamericanism, subalternity, globality, and visual arts. The focus of this research is to criticize the global dissemination of Latin American contemporary art on the one hand and to call into question on the other the controversial statement that affirms that the Latin American art is currently experiencing a sort of ‘boom’, similar to that ‘boom’ that literature from the region experienced four decades ago. In order to call into question the continuity between these two ‘booms’, this research elaborates on what we called the ‘performative disavowal of the idea of the Latin American art’, that is, by means of talking about Latin American art as a heterogeneous geocultural realm and in doing so, systematically neglecting the pertinence of the category ‘Latin American art’. Measuring the impact of this contradictory strategy, this research analyzes three different arguments that institutions, scholars, artists, and theoreticians point out when the category ‘Latin American Art’ is interposed in order to define, to collect, to exhibit, or to study a supposedly regional-based aesthetic production: 1) that compromises and hides the cultural diversity of the region; 2) that subsumes the idea of the Latin American art under the idea of Latin America as a geographical region; 3) that is the result of an external and Eurocentric understanding of the region. In referring to ‘globalism’ as the ideology that galvanizes the articulation of the so-called global art world, this thesis proposes a radical critique of the way in which institutions establish the ‘coefficient of globality’ of the so called non-Western art on the one hand, and problematizes the idea that we have already eliminated the geo-aesthetic asymmetries that gave shape to the modern world. During the research, diverse fields and disciplinary corpuses have been scrutinized, such as the Latin American Art Studies, the New Global History and the so-called World Art Studies.
Gilsoul, Sarah. "Etirer la communauté artistique au monde: une sociologie de la mondialisation artistique :enquêtes sur les controverses autour de l' "art contemporain africain"". Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209135.
Pełny tekst źródłaDoctorat en Sciences politiques et sociales
info:eu-repo/semantics/nonPublished
MacKenzie, Benjamin Roe. "Designing the Part: Drama and Cultural Identity Development Among Ghanaian Teenagers". Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300477046.
Pełny tekst źródłaRibas, Luciano do Monte. "JARDIM MIRIAM ARTE CLUBE: LUGAR DE ENCONTRO ENTRE ARTE E DIREITOS HUMANOS". Universidade Federal de Santa Maria, 2010. http://repositorio.ufsm.br/handle/1/5198.
Pełny tekst źródłaEste trabalho relaciona, dentro do contexto da globalização, a arte contemporânea com os direitos humanos, tendo como estudo de caso a experiência da artista plástica Mônica Nador junto ao Jardim Miriam Arte Clube (Jamac), uma organização não-governamental sediada na cidade de São Paulo. Dividido em três capítulos, este estudo busca, no primeiro, caracterizar o objeto pesquisado e demonstrar que o direito a acessar, conhecer, compreender e fazer arte precisa ser entendido como parte dos direitos humanos. A seguir, conceitua os processos de globalização, localização, hegemonia e contra-hegemonia, inserindo o Jamac nesse contexto. No capítulo final, conceitua as quatro gerações de direitos humanos, identifica discursos que eles compartilham com a arte contemporânea e discute como o Jardim Miriam Arte Clube, ao exercer o poder transformador da atividade artística, é capaz de promover a arte como um direito humano.
Maybury, Terrence, i n/a. "Internal+/-External Terrains: A Meditation On the Productive Skein of Electracy". Griffith University. School of Film, Media and Cultural Studies, 2002. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031009.112120.
Pełny tekst źródłaOmar, Hadeer. "Egyptianization: Culture hacking as a method". VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4114.
Pełny tekst źródłaChamberlain, Rachel P. "Articulations of Liberation and Agency in Yanagi Miwa's "Elevator Girls"". Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/102.
Pełny tekst źródłaSantos, Mara Pereira dos. "Curadoria, pedagogia e colaboração social". Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4416.
Pełny tekst źródłaNa virada para o século XXI artistas e curadores em bienais e outras exposições internacionais estão adotando formas colaborativas e educacionais de fazer arte e curadoria envolvendo artistas e não artistas, comunidades, escolas e outras instâncias sociais. Essas iniciativas criam encontros interdisciplinares onde imbricações entre arte e não-arte são colocadas em questão, considerando contextos sociopolíticos mundiais, a globalização e outros temas pós-colonialistas. A dissertação examina as aproximações e atravessamentos de culturas e identidades, questões de centro e periferia, local e global gerando entre-lugares e o interesse por propostas de site-oriented, geradoras de situações de convivência, compartilhamento de experiências coletivas e prática educativa. A pesquisa reflete sobre as intenções dos artistas, curadores, a participação do público e o diálogo entre diferentes discursos críticos e campos do conhecimento em projetos com essas características. O estudo de caso é o projeto Cadernos de Viagem, projeto de residência artística e exposição, realizado na 8 Bienal do Mercosul, em Porto Alegre, Brasil, 2011. Diversos teóricos como Homi Bhabha, Jacques Rancière, Nicolas Bourriaud, Claire Bishop, Grant Kester, Miwon Kwon, Moacir dos Anjos e Félix Guattari, são abordados, entre outros
At the turn of the 21st century artists and curators in biennials and other international exhibitions are embracing collaborative and educational forms of artmaking and curatorship that both involve artists and non-artists, communities, schools and other social contexts. These initiatives create interdisciplinary encounters where the interconnections between art and non-art are questioned and sociopolitical contexts explored, as well as themes of globalization and post-colonialism. The dissertation examines the proximities and challenges of interactions between different cultures and identities, issues of center and periphery and the local and global that create between-places and micropolitical interventions via these site specific situations of conviviality and sharing of collective experience and education practice. The research reflects on the intentions and contradictions of artists, curators, educators, public participation, and the dialogue between different critical discourses and fields of knowledge in projects with these characteristics. The case study is Travel Notebooks, an artist residency and exhibition project of the 8th Mercosul Biennial in Porto Alegre, Brazil, 2011. Various theorists such as Homi Bhabha, Jacques Rancière, Nicolas Bourriaud, Claire Bishop, Grant Kester, Miwon Kwon, Moacir dos Anjos and Félix Guattari are drawn upon, among others
Seabra, Jessica. "Práticas curatorias na 27ª Bienal de São Paulo : crítica institucional, participação e discursividade". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-26072018-161735/.
Pełny tekst źródłaThis dissertation focuses on the analysis, through a critical bias, of the 27th São Paulo Art Biennial curatorial proposal, entitled \"Como viver junto\" [How to live together]. This biennial is taken as a case study within the broad context of biennials because it is considered a precursor one, establishing and institutionalizing some curatorial changes, such as the end of national representations. The 27th São Paulo Art Biennial is linked to theoretical references that are related to what Bruce Ferguson calls \"discursive biennials\", a term that refers to the fact that conferences, interdisciplinary events, workshops, educational activities, and public discussions have become increasingly important elements in these projects. Within the context of this expanded discursiveness, \"participation\", \"institutional critique\" and an educational bias have been recurrent strategies in biennial curatorships. These three elements were already present in artistic approaches in the art world and together form a discursive field composed of dialogic and relational practices that replicate, albeit with varied formats, in biennials around the world. The curatorial proposal of the exhibition was studied to understand the discourses involved in the thinking of the curators and submitted to a certain historical moment, which conditioned them to reveal a cultural context.
Nicolau, Netto Michel 1978. "O discurso da diversidade = a definição da diferença a partir da world music". [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280864.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A valorização contemporânea da diversidade revela um mundo atento à diferença. De fato, se um dia lutávamos pelo direito de sermos iguais, hoje, paradoxalmente, também clamamos pelo reconhecimento de nossas diferenças. Nesse sentido, vozes que discursam sobre essas diferenças hoje precisam ser ouvidas e ressoam pelo mundo ao habitarem o espaço global. Contudo, de que diferenças estamos falando? A permanência de nosso olhar no seio das relações sociais muitas vezes impede que notemos que, na verdade, as diferenças são construídas social e historicamente. Não basta que as coisas se diferenciem, mas é preciso um contexto no qual seja possível a seleção de índices suficientes de diferenciação para que essas sejam classificadas e, por consequência, hierarquizadas. Dessa forma, duas coisas se diferenciam apenas quando índices específicos são legitimados e, então, discursados. Por isso, a diferença é necessariamente uma construção discursiva que se realiza pelas próprias práticas discursivas, mas que somente podem surgir em relação a determinadas realidades concretas. No século XIX a diferença fora construída a partir da organização do exótico. É em relação a ele, em um momento no qual o discurso universal e a nação criavam a separação entre internalidades e externalidades centradas no imperialismo europeu, que a diferença fora articulada. Na contemporaneidade, contudo, o mundo perde seu centro e as relações entre externo e interno não mais podem organizar um discurso, sendo esse percebido na diversidade. O discurso da diversidade, portanto, surge na contemporaneidade como forma de ordenar o diferente a partir de bases concretas na sociedade, mas também por interrelações entre enunciados específicos. Podemos notar a operação desse discurso ao voltarmos nossos olhos para um objeto específico: World Music. Nele, a música é valorizada pela própria diferença, sendo então necessário se compreender quais os índices tornados suficientes para a diferenciação. Propomos que neste objeto os índices privilegiados são o local e a etnia. Com essa mirada, então, mais importam as forças relacionadas à determinação dos índices do que a tentativa de se perceber um mundo mais ou menos homogêneo. É dessa forma que poderemos compreender as implicações sociais e o condicionamento das vozes presentes no discurso da diversidade
Abstract: The value given to diversity in our times shows just how attentive the world is to difference. In fact, where we once fought for equal rights we now look to establish our sense of difference. In this sense, voices who speak about these differences need to be heard today and resonate throughout the world. But what differences are we talking about? The permanence of our attention within social relations often prevents us from noticing that, in fact, we're talking about differences that are socially and historically constructed, and therefore of interest to sociology. It's not enough that things are distinct, but we need a context in which it is possible to select sufficient levels of differentiation for things to be classified and consequently put in hierarchies. Thus, two things are different when specific factors are legitimized and then discoursed. Therefore, the difference is necessarily a discursive construction that takes place by their own discursive practices, but that can only arise in relation to certain realities. In the nineteenth century, difference was built from the organization of the exotic. And it's in relation to this, at a time in which the universal discourse and the nation, centrered on European imperialism, created the separation between the internalist and the externalist view, that the difference was articulated. In contemporary times, however, the world loses its centre and the relationship between internal and external can no longer organise a discourse, this being perceived in the diversity. The discourse of diversity, therefore, arises in the contemporary world as a way to order the different from concrete foundations in society, but also by interrelationships between specific enounciation. We can note the operation of this discourse by examining a specific object: World Music. In it, the music is valued by the difference, so one needs to understand what are the factors that make the differentiation sufficient. We propose that with this object the privileged factors are location and ethnicity. With this look, then, it's of importance to understand the forces related to the determination of these factors rather than the attempt to realize a more or less homogeneous world. And so we can understand the social implications and the conditioning of the voices present in the discourse of diversity
Doutorado
Sociologia
Doutor em Sociologia
Boscato, Morishita Sylvie. "L'art des missions catholiques au Japon : XVIe-XVIIe siècles". Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAK016.
Pełny tekst źródłaCatholic missions in 16th century Japan developed within the context of lberian expansion in the Far East. The Japanese converts welcomed Western religious art. The present study draws up the list of the main works of art that have escaped destruction since 1614, describes their conservation and progressive discovery since the XIXth century, focuses on the role of the Jesuits in the introduction of Western art in Japan while presenting the artistic traces of the mendicants orders. The main works of art are set in their historical context. The Japanese mission is thus placed in the global networks of lberian expansion, which allowed artistic circulation between Europe, Japan and the New World
Spricigo, Vinicius Pontes. "Relato de outra modernidade: contribuições para uma reflexão crítica sobre a mediação da arte no contexto da globalização cultural". Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27151/tde-31032010-090437/.
Pełny tekst źródłaThe Thesis is organized around the case studies of the last three editions of Kassel´s Documenta (1997, 2002, 2007), and the 24th (1998), 27th (2006) and 28th (2008) editions of São Paulo Bienal. It is focused on the analysis of the transformation that has been occurring in the curatorial practices and in the art institutions since the 1960s and 1970s. Its conceptual background is based on the relationship between the critical (aesthetic) practices and the process of cultural globalization.
Chan, Patrick Foong, i patrick chan@rmit edu au. "Outside-Singapore: A Practice of Writing: Making Subjects and Spaces yet to come". RMIT University. Architecture and Design, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080205.164909.
Pełny tekst źródłaGanivet, Élisa. "Le mur dans l'art contemporain : étude phénoménologique et géopolitique". Thesis, Besançon, 2013. http://www.theses.fr/2013BESA1017.
Pełny tekst źródłaIn the 21st century our image of a globalized world seems a priori paradoxical to the heavy increase in barriers designed to create or maintain divisions. We will focus on the artistic interpretation resulting from this paradox in the context of geopolitics, history and social situation. How and why the Wall should make think the artists? In a first step, historical development broadly reports the features and contexts of our phenomenal object. Then, effective phenomenology mainly refers to the Berlin Wall; this for an eventual metaphor to the two others studied objects-walls: the one located in Israel and Palestine, the other located between Mexico and the United States. Understanding of the Real is qualified by the sovereignty of States, understanding of the Symbolic via territory and cultural identity, and the realm of the Imaginary by the relationship with others and with oneself. The confrontation to the border (limologie) related to the strategy of the wall (teichos), would reveal an imbalance of principles of universality. Eventually, globalization as an exchange of interests is the one that would promote the existence of the object-wall; and a hyperreal perception of the object would be more the result from artists foreign to the phenomenon
Salami, Shahnaz. "Enjeux et perspectives de la politique du droit d'auteur en Iran à l'heure de la globalisation et à la lumière du droit français et international : exemple du cinéma". Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2112.
Pełny tekst źródłaThe recognition of copyright in Iran encounters significant difficulties in globalization times when international standardization of copyright clashes with national issues : such is the assumption that we will endeavor to check in the first part of our thesis. First, a study of copyright in Iran will show that the Iranian cultural policy concerning literary and artistic property is inspired by the French approach to copyright. Secondly, an analysis of international positive law will see cultural, political and economic issues that explain why the Iranian legislator tends to strike a balance between the Iranian distinctiveness and international positive law through a series of reforms. Finally, this study will illustrate the difficulties the Iranian legislator has to face in order to find a harmonization between international conventions on the one hand, and level of development of the country on the other. The second part of this thesis analyzes the development of film piracy and counterfeiting, the rise of black market and network evolution in the informal economy of communication, that all impede the efforts to comply the Iranian copyright with international copyright. Film piracy deserves to be seen as closely interwoven into the social, political, cultural and economic environment of today's Iran. This is the idea on which this part of our thesis is based. Through the technological, economic, social and political history of Iran's cinema, this study aims at discovering the reasons for the development of pirate activity in Iran, its consequences for the Iranian film industry and Iranian society. Through this analysis on piracy, this thesis finally presents it as an underground and misunderstood way of developing cultural globalization in Iran in the shadows. In filigree, this analysis shows how business network which pirate market films embody an « underground economy » organizing an underground cultural globalization in Iran