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Rozprawy doktorskie na temat „Culture and art”

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Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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1

Krakovich, Lina M. "Art · Culture · Experience". Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212147757.

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Thesis (Master of Architecture)--University of Cincinnati, 2008.
Advisors: Vincent Sansalone, Elizabeth Riorden. Title from electronic theses title page (viewed Sept. 6, 2008.). Includes abstract. Keywords. Includes bibliographical references.
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KRAKOVICH, LINA M. "Art · Culture · Experience:". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212147757.

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Sanz-Ferran, Claudette, i Anne Vincenti. "L'espace pictural dans la culture occidentale et dans la culture islamique". Toulouse 2, 1991. http://www.theses.fr/1991TOU20075.

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L'analyse interculturelle de l'objet pictural montre que celui-ci n'est pas séparé des objectifs propres de la représentation ni de ce que peut en attendre un ensemble social. Foisonnant dans la culture occidentale, l'objet pictural est lie à un interdit dans la culture islamique. Or, l'interdit ne porte pas exclusivement sur la représentation qui frappe de nullité l'objet qu'elle représente. L'interdit vise aussi l'objet pictural comme élément significatif d'une manière d'être présent ou en présence de l'objet. La limitation quadrangulaire du tableau, surface à l'évidence plate où est exclue la troisième dimension, établit sa spécificité : tableau virtuel, il introduit la question des limites dans lesquelles l'espace s'offre entre réel imaginaire
Analysis of the pictorial object between different cultures shows that it is unseparable from its ownrepresentational aims and that which is to be expected within an overall social picture. Abundant in western culture, the pictorial object is attached to the forbidden in Islamic culture. However, the forbidden doesn't only concern the representation of the object which renders the object, itself, void. The forbidden also concerns the pictorial object as an important element, in as much as it is itself present, or, is in the presence of, the object. The quadrangular limitation of the tableau, the flat which excludes the third dimension, establishes its specificity: virtual picture, it introduces the question of the limits within the space between real imaginary
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Muirheid, Amanda J. "Visual Culture within Comprehensive Art Education and Elementary Art Curriculum". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/80.

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This thesis addresses why a comprehensive art education curriculum needs to merge with visual culture in order to better serve current elementary students today. The review of literature supports this theory and proves that the two approaches work together to make learning relevant and effective. The units of study provided make up a guideline that show teachers how to include visual culture into the current comprehensive art education structure. This allows students to bring their own ideas and experiences into the classroom, and results in making the visual arts more personal. Following this curriculum will help students own their education and ultimately gain higher level thinking and learning in the visual arts as well as other subject areas.
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5

Ugurlu, Susan Cooke. "Art and culture in Phrygian Ankara". Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426085.

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Stinson, Madonna Therese. "Youth theatre : incorporating art and culture". Thesis, Queensland University of Technology, 1995. https://eprints.qut.edu.au/35857/1/35857_Stinson_1995.pdf.

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The study analyses the relationship between popular culture and youth theatre. The first part is a review of selected Australian Youth Theatre playtexts. Following chapters provide a background of contemporary thought regarding popular culture and specify aspects of youth culture highlighted in the selected texts. A case study documents the playmaking project undertaken with a Brisbane Youth Theatre company that resulted in the youth theatre production of This Fine Line. The playtext of This Fine Line is included in the study.
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Balkir, Nur Chanda Jacqueline. "Visual culture in the context of Turkey perceptions of visual culture in Turkish pre-service art teacher preparation /". [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-9935.

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8

Branca, Andrea. "Identity and Popular Culture In Art Therapy". Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/100.

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This paper explores the psychological concept of identity and how popular culture may be used as a theme in art therapy for exploring and repairing life story. The literature review defines identity from varying perspectives with emphasis on awareness of parallels between popular culture and the client’s personal story. These parallels may offer art therapists a framework of images and memories useful specifically to exploring identity development with clients. The case study places client’s identity into the context of popular culture unique to the experiences of the client at varying life stages.
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9

Bradshaw, R. Darden. "Visual Culture Art Integration: Fostering Student Voice". Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301706.

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Art integration research has received much attention of late, yet the focus generally examines ways integration practice and pedagogy support or enhance outcomes of high stakes testing. Serving as a counterpoint, this qualitative action research study, grounded in my experiences as a middle school arts integration specialist, addresses the value of visual culture art integration as a site of youth empowerment. Working collaboratively over a period of four months with three non-art educators to create and teach a series of social justice art integration units with sixth graders, I examined ways an integrated art and visual culture curriculum fostered safe spaces for students to take risks by deconstructing and reconstructing their identities, beliefs and understandings of others and their world through artmaking. In chapter one, I recount early teaching experiences that prompted the research questions in which an examination of which arts integration pedagogies best stimulate students to examine visual culture, articulate voice, and question power relationships that perpetuate social inequities. I address the theoretical lens of social justice art education as it frames the study and examine and discuss the current literature surrounding visual culture and art integration in chapter two. Chapter three delineates methodologies employed in the action research study including data collection measures of visual journaling, artmaking and photography. In chapters four, five, and six, I recount the process in which students engaged with, responded to, and created artwork through three curricular units--in social studies examining the intersections of culture and visual culture as evidenced through advertising, in language arts class collaboratively exploring persuasion through environmental and ecological art installations, and in math class integrating Fibonacci's theories through art making. Findings, discussed in chapter seven, indicated that visual culture art integration, used by teachers is often mislabeled out of insecurity and is a viable methodology for increasing student engagement. When students work collaboratively a space is created for them to regain power in the classroom and increase empathy awareness for themselves and others. Furthermore, art making, within a non-art classroom, can be a particularly successful arena through which middle school students articulate and clarify their voices.
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10

Raley, Gabrielle. "Between art and advertising the production, organization, and culture of commercial art /". Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023816031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Hoeffler, Michelle Leah. "The moment of William Ralph Emerson's Art Club in Boston's art culture". Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/67166.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.
Includes bibliographical references (p. 183-225).
This thesis will analyze the architect William Ralph Emerson's (1833-1917) Boston Art Club building (1881-82) and its station within Boston and New York's art culture. Even though there has been considerable research on the Gilded Age in general and certain art clubs specifically, this club remains a neglected element in art's social history. During the rising development of art culture, a small group of artists founded the Boston Art Club (1854-1950) as a vehicle for production, education and promotion of the arts. To assert their club's presence within patrons' circles, the members commissioned a flagship clubhouse adjacent to Art Square (now known as Copley Square). Emerson, primarily a residential architect and the first Shingle Style architect, won the competition with a unique amalgamation of Queen Anne and Richardson Romanesque styles, an alliance with the nearby Museum of Fine Arts and the Ruskin and the English Pre-Raphaelites. The resultant clubhouse was a declaration of the club's presence amid America's established art culture. Through this building design the Club asserted its status for the thirty years that the arts prevailed on Boston's Art Square. The Art Club's reign, along with the building's prominence, ended when the Museum deemed their building's architectural style out of date, among other reasons. That faithful decision to abandon Art Square and the revival Ruskinian Gothic style would take with it the reverence for the Art Club's building and, eventually, the club itself. Within forty years and through several other struggles the Art Club closed its doors, ending a chapter that began with the need for art in Boston, thrived within the culture of the Gilded Age and sank from the changing trends in architecture.
by Michelle Leah Hoeffler.
S.M.
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12

Glăveanu, Vlad Petre. "Creativity and culture : towards a cultural psychology of creativity in folk art". Thesis, London School of Economics and Political Science (University of London), 2012. http://etheses.lse.ac.uk/415/.

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The present thesis aims to explore creativity as representation, action and cultural participation in the context of a traditional folk art. It develops a cultural psychological approach to the phenomenon, one that considers creativity situated between creators, creations, audiences, and a complex background of norms and beliefs. A tetradic framework is thus formulated trying to capture the dynamic between self and other, “new” and “old” in creative production and in particular their inter-relation through processes of integration, externalisation, internalisation and social interaction. This model guided the research design, starting from the three main questions of the thesis: how people attribute creative value to the craft, what makes the activity of decoration creative and how children’s engagement with this practice develops during ontogenesis. The folk art chosen for this study is Easter egg decoration in two socio-cultural milieus in Romania, the urban setting of Bucharest and the village of Ciocăneşti. This craft was selected for its rich symbolism and polyphony of practices that situate it at the intersection between folklore, religion, art and a growing market. In this context, the first research included in the thesis investigates patterns of creativity evaluation in the case of ethnographers, priests, art teachers and folk artists and highlights their relation to the practices and beliefs particular for each of these groups. The second study uses a pragmatist-inspired model to analyse creative action in the case of decorators from the urban and rural setting and outlines the general stages and micro-genetic aspects of creativity specific for both contexts. Finally, the last piece of research considers creativity development in the two settings above as shaped by different practices of socialisation and enculturation. In the end, reflections are offered on the general conception of egg decoration as mastery in ways that bring to the fore the interdependence between tradition and creativity and suggest the existence of habitual forms of creative expression.
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Lymer, Kenneth J. "Animals, art and society : rock art and material culture in ancient Central Asia". Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400540.

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Tolley, Rebecca. "Review of Self-Taught Art: The Culture and Aesthetic of American Vernacular Art". Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etsu-works/5710.

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Granlund, Magdalena, i Maria Silén. ""We Really Are Not Artists, We Are Military. We Are Soldiers": The Street Art Culture of Chile and its Power in Art Education". Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35528.

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This thesis describes the street art culture of Chile and its power in art education. The thesis highlights the didactic questions what, how and why. With the Swedish art curriculum in upper secondary education (Skolverket, 2011) as a starting point, the following research examines what topics street artists in Chile address in their work; and how and how can educators in Sweden use street art in the classroom when they wish to highlight topics such as communication, identity and democracy, and with what purpose. The implementation of the study is based on a method of qualitative research. Semi structured- as well as informal interviews are used. Observation in form of visual field notes is presented through photography. This results in four different themes that is highlighted. The themes are cultural heritage, artivism and democracy, identity and school. The conclusion regarding what benefits street art may serve in school are that Swedish teachers in upper secondary art education can benefit from using street art in the art classroom when they wish to highlight the communicative aspects of street art. Another conclusion being made is that Chilean street artists use street art as a communicative tool when they wish to highlight topics such as cultural heritage, political views and as an identity marker.
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16

Stott, Annette. "Holland mania : the unknown Dutch period in American art and culture /". Woodstock (N.Y.) : Overlook Press, 1998. http://catalogue.bnf.fr/ark:/12148/cb39272269d.

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Buchannan, Sophie Christina Rose. "The art of violence in Roman visual culture". Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608069.

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Hobbs, Simon. "Extreme art film : text, paratext and DVD culture". Thesis, University of Portsmouth, 2014. https://researchportal.port.ac.uk/portal/en/theses/extreme-art-film(409abfaf-1fb0-4501-9461-9b2d19f5deb6).html.

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Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. Through this methodological direction, the thesis is able to assess how the films are sold to an audience, how this relates to the historical progression of extreme art cinema, and the way the entire practice is informed by an ongoing tradition of taste fluidity.
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Walsh, Andrea Naomi. "Contemporary aboriginal art texts, intersections of visual culture". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0012/NQ59158.pdf.

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Kellond, Joanna Elizabeth Thornton. "The art of healing : psychoanalysis, culture and cure". Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54447/.

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This thesis explores how we might think the relation between psychoanalysis and the cultural field through Donald Winnicott's concept of the environment, seeking to bring the concept into dialogue with more “classical” strands of psychoanalytic theorizing. A substantial introduction sets out the rationale behind the thesis by reading Freud and Winnicott in relation to the “classic” and the “romantic” (Strenger 1989), or the “negative” and “positive” (Rustin 2001), in psychoanalytic thought. It goes on to outline the value of bringing these tendencies together in order to think the relationship between psychoanalysis, culture and change. The chapters which follow move from psychoanalysis as a “cultural cure” – a method and discourse drawing on and feeding into a broad conception of cultural life – towards a notion of “culture as cure” informed by Winnicott's theory of the environment. Chapter one examines Freud's refusal of the “culture”/ “civilization” distinction and considers what it means for the idea of a cultural cure. Chapter two considers whether Winnicott's thinking about “culture” ultimately prioritises the aesthetic over the political. Chapter three uses Aldous Huxley's Brave New World ([1932] 1994) to explore an analogy between totalitarianism, technology and maternal care. Chapter four turns to the series In Treatment (HBO 2008-) to think about the intersections of therapy and technology in terms of reflection and recognition. Chapter five employs Ian McEwan's Saturday (2005) as a means to reflect on the capacity of culture to cure. Ultimately, I suggest that social “cure” may require more than “good-enough” cultural forms and objects, but Winnicott's “romantic” theorization of the aesthetic, coupled with a “classic” attention to structures of power and oppression may offer a means of thinking the relationship between psychoanalysis and culture in potentially transformative ways.
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Smith, Cordelia Amy. "The art unions, gambling and culture, 1834-1934". Thesis, Birkbeck (University of London), 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680815.

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Madeira, Maria Imaculada. "Women’s Contribution to Timor-Leste’s Art and Culture". Thesis, Curtin University, 2018. http://hdl.handle.net/20.500.11937/77511.

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This thesis examines and reflects upon the changes and development of Timor-Leste’s arts and cultural discourse from its pre-colonial origins to the present day, especially the influence and contribution of East Timorese women in the areas of textiles, basketry, ceramics and the performance arts. The research is conducted from the researcher’s active position as a Timorese female visual artist, providing a new perspective on the existing discourse, which has sidelined the practices of female visual artists.
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Haley, Stephen John. "Mirror as metasign : contemporary culture as mirror world /". Connect to thesis, 2005. http://eprints.unimelb.edu.au/archive/00001650.

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Balkir, Nur. "Visual Culture in the Context of Turkey: Perceptions of Visual Culture in Turkish Pre-Service Art Teacher Preparation". Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9935/.

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This study explored the state of art education in Turkey as revealed by pre-service art education university instructors, and the potential of incorporating visual culture studies in pre-service art education in Turkey. The instructors' ideas about visual culture, and popular culture, the impact it might have, the content (objects), and the practices within the context of Turkey were examined. Visual culture was examined from an art education perspective that focuses on a pedagogical approach that emphasizes the perception and critique of popular culture and everyday cultural experiences, and the analysis of media including television programs, computer games, Internet sites, and advertisements. A phenomenological human science approach was employed in order to develop a description of the perception of visual culture in pre-service art education in Turkey as lived by the participants. In-person interviews were used to collect the data from a purposive sample of 8 faculty members who offered undergraduate and graduate art education pedagogy, art history, and studio courses within four-year public universities. This empirical approach sought to obtain comprehensive descriptions of an experience through semi-structural interviews. These interviews employed open-ended questions to gather information about the following: their educational and professional background; their definitions of art education and art teacher education and what it means for them to teach pre-service art education; critical reflections on the educational system of Turkey; perceptions of visual and popular culture; and finally individual approaches to teaching art education. This study was conducted for the purpose of benefiting pre-service art teacher education in general and specifically in Turkey. It provided the rationale, the nature, and pedagogy of visual culture as well as the why and how of visual culture art education in the context of Turkey. Furthermore, it provided insights into the potential contribution of the concept of visual culture to the understanding of art and improvement of art teacher training in the context of Turkey.
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Manning, Russell Robert. "Theology at the end of culture : Paul Tillich's theology of culture and art". Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615700.

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Woods, Carrie L. "Visual Culture: A Case Study". Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1193266191.

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Bickerstaff, Meghan Triplett. "Okay, Maybe You Are Your Khakis: Consumerism, Art, and Identity in American Culture". Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1092258380.

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Barnes, Maribea Woodington. "Ethnographic Research in Morocco: Analyzing Contemporary Artistic Practices and Visual Culture". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1218051347.

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Brun, Jean-Paul. "Nature, art contemporain et société : le Land art comme analyseur du social". Paris ; Budapest ; Kinshasa [etc.] : l'Harmattan, 2005. http://catalogue.bnf.fr/ark:/12148/cb40092117t.

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Brun, Jean-Paul Minary Jean-Pierre. "Nature, art contemporain et société : le Land art comme analyseur du social". Paris : l'Harmattan, 2007. http://catalogue.bnf.fr/ark:/12148/cb411109683.

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Graves, Valerie. "A CULTURAL LENS INTO THE STORY UNDERNEATH: A RESOURCE GUIDE OF AFRICAN AMERICAN ART, ARTISTS AND CULTURE FOR ART EDUCATION". VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3595.

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The goal of this study is to create a qualitative resource guide of African American culture, art, and artists for an art education curriculum. This project encompasses four main themes to reflect an area of African American culture via a work of art created by an African American artist. These themes are, Family with the sub themes African American Male, Matriarch, and Children; Spirit with the sub themes Faith, Spirituality, and Inspiration; Identity with the sub themes Artist’s Voice, Triumph, and Hope and Vision; Community with the sub themes Ancestors, Social Issues, and Cultural Voice. These themes constitute a basis depictive of the African American culture at a deeper level as resounded by ethicist Peter J. Paris’s reflection of the culture’s foundational building blocks, God, community, family, and person (Paris, 2004). This thesis looks beyond the composition, artistic essentials, historical relevance, and biographical sketches of the artists, to create an accessible and effective way to approach African American culture thematically. The resource provides connecting elements into a culture that has contributed to the very essence of the larger American culture.
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Harkett, Daniel. "Exhibition culture in Restoration Paris". View online version; access limited to Brown University users, 2005. http://catalog.hathitrust.org/api/volumes/oclc/73488260.html.

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Thesis (Ph.D.)--Brown University, 2005.
Vita. Thesis advisor: Kermit S. Champa. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 271-289).
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Brun, Jean-Paul. "Nature, art contemporain et société : le Land art comme analyseur du social". Paris ; Budapest ; Kinshasa [etc.] : l'Harmattan, 2006. http://catalogue.bnf.fr/ark:/12148/cb409277393.

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Ebner, Bonnie. "MANY TELLING MOMENTS:THE ESSENCE OF FRAGMENTED IMAGE CULTURE". Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3376.

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My purpose in entering the UCF MFA program was to further explore and develop my passion for photography. During my time in the program, I developed my methodology--from having the traditional photography paradigm ingrained in my mind (and wanting to fit into it) to accepting and valuing my own unique process. I construct installations using diverse imagery and non-traditional presentation. In my installations, one may witness a reflection of the contemporary pace of image perception--fragmented, complex, abundant, and disordered. Together, images and their arrangements are used to create a unified piece that satisfies a new system within apparent disorder. The resulting installations summon the sensation of thinking and processing information in a new way, allowing for re-contextualization of fragmented imagery. Technology has pushed photography to evolve. Previously held traditional notions of photography as art (e.g., "single telling moment" photographs and similar subject matter) are now being confronted by a vernacular of "many telling moments". The current state of the art world is in flux, and is greatly influenced by the faster pace set by technology; I coin our new vernacular Image Culture.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Zandian, Nastaran. "Bridging the worlds through art and culture, an Iranian cultural center in Washington D.C". College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/7839.

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Thesis (M. Arch.) -- University of Maryland, College Park, 2007.
Thesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Tobey, Elizabeth MacKenzie. "The palio in Italian Renaissance art, thought, and culture". College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2458.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.
Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Christopoulou, Martha. "Conceptualising a visual culture curriculum for Greek art education". Thesis, University of Roehampton, 2008. https://pure.roehampton.ac.uk/portal/en/studentthesis/conceptualising-a-visual-culture-curriculum-for-greek-art-education(c7f68387-643e-4199-9fda-fa45c687350b).html.

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This research contributes to the current debate about the need to redefine the goals and content of art education. The aim was to establish whether or not visual culture should be introduced into the school curriculum at primary level in Greece and if so how. It began with a review of international literature conducted to determine the current state of knowledge about visual culture education and an analysis of recent reforms to the Greek art curriculum. This led to the development of a theoretical framework for the empirical research in Greece and a working definition of visual culture education. The research had two parts. In the first part, the researcher conducted group interviews with Greek children, aged between 6 and 12, for the purposes of establishing their preferences for visual culture genres and their understanding of everyday images as a learning resource. The findings were that these children were aware that they lived in and interacted with visual images in the real world; they preferred looking at television imagery, but did not fully comprehend how they influenced their identity construction. In the second part, the researcher introduced visual culture education content and methods into art lessons in Greece. She conducted an educational intervention in two primary school classrooms over a period of five weeks using an experimental curriculum entitled ‘Deconstructing Television Imagery’. The evaluation found that the curriculum focus on telenovelas and Barbie animated films motivated learners to participate in art lessons and extended their understanding of these visual culture genres and how they impact on viewers’ lives. A conclusion reached at the end of the research was that the primary school curriculum in Greece should include visual culture. Visual culture education should take into account the particularities of Greek students’ visual experiences and of Greek art education and culture. Consequently it should include fine arts, mass media and material culture, performing arts and the arts of spectacle. It would benefit from being interdisciplinary and embracing principles of critical pedagogy.
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38

Badoni, Georgina. "Native American art and visual culture education through skateboards". Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/305338.

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In this thesis, contemporary Native American images on skateboards that extend Native American art beyond such traditional crafts as beadworks and pottery are explored. The study reveals that Native American skateboard graphics express history, culture, and myths. Native American curriculum, Native American art, and Native American stereotyping in visual culture are critically examined. The purpose of the study is to provide additional Native American art and visual culture examples and methods for the development of Native American art curricula.
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James, Catherine Elizabeth. "Gravity and fantasy : the art and culture of weight". Thesis, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420526.

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Scott, Nadine Althea Theda. "Fine art as an expression of religion in the Jamaican culture : implications for art education /". The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392715688.

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Reibel, Shannon. "THE FUTURE OF AESTHETICS IN/AND VISUAL CULTURE ART EDUCATION IN 21ST CENTURY ART EDUCATION". VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1752.

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This grounded theory project researches and analyzes publications from 1990-2008 assessing the debate over aesthetics in/and VCAE in 21st century art education. Through a series of visual models, a working theory and its supporting evidence assess this contested subject. Within the context of Modern and Postmodern paradigm conflict, art educators’ debate over aesthetics in/and VCAE fundamentally deals with differing conceptions of identity and freedom. Although commonly sharing the goal of fostering the formation of student identity through the provision and exercise of freedom, art educators’ differing perspectives on identity and freedom result in differing prescriptions for 21st century art education. By presenting qualitative data analysis through grounded theory, I guide fellow art educators through this debate by providing snapshots of information as well as detailed portraits of the scholars and their multifarious rationales.
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Tzavaras, Annette. "Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art". Faculty of Creative Arts, 2008. http://ro.uow.edu.au/theses/120.

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My creative work investigates the negative space, the ‘in between space’ that leads to new knowledge about other artists and other cultures. The fundamental and distinctive elements of Islamic pattern in my paintings in the exhibition Dialogue in Diversity are based on my own experience of misinformation as well as rewarding collaboration within a culturally blended family.This research explores the continuity of the arabesque and polygon. I experiment with the hexagon and its geometric shapes, with its many repeat patterns and the interrelatedness of the negative space, or the void indicative of the space between layers of past and present civilizations that are significant fundamentals in my paintings.The thesis Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art traces the visual history of Orientalist art, beginning with a key image of Arthur Streeton, Fatima Habiba, painted in 1897 and contrasts Streeton’s perception with that of important Islamic women artists working globally such as Emily Jacir who participated in the Zones of Contact 2006 Biennale of Sydney.A core element of my research is working with emerging artists from Islamic backgrounds in Western Sydney. The February 2007 exhibition Transforming Perceptions Via . . . at the University of Wollongong brought together artists from east and west.By adopting the Islamic pattern in my paintings, I hope to strengthen the interaction between the Christian and Muslim interface in Australian contemporary society. My work contemplates the human aspects of relationships and responsibilities within the cross cultural spectrum.
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Papadaki, Eirini. "The mediation of art through the mass media". Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246640.

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Dobre, Cristina Madalina Mazilu Dan Horia Claudon Francis. "Viziunea mortii în cultura cultura româna veche La vision de la mort dans la culture roumaine prémoderne /". Créteil : Université de Paris-Val-de-Marne, 2007. http://doxa.scd.univ-paris12.fr:8080/theses-npd/th0253445.htm.

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Thèse de doctorat : Lettres : Paris 12 : 2007. Thèse de doctorat : Lettres : Universitatea din Bucuresti : 2007.
Thèse soutenue en co-tutelle. Version électronique uniquement consultable au sein de l'Université Paris 12 (Intranet). Titre provenant de l'écran-titre. Bibliogr. 375 réf. Index.
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Wurtzel, Kate Kundu Rina. "A risk worth taking incorporating visual culture into museum practices /". [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9719.

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Mah, D. B., University of Western Sydney i of Performance Fine Arts and Design Faculty. "Australian landscape : its relationship to culture and identity". THESIS_FPFAD_Mah_D.xml, 1997. http://handle.uws.edu.au:8081/1959.7/257.

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This paper is an examination of the relationship of Australian landscape imagery to culture and identity. Visual and historical ideas in the Heidelberg School and more contemporary landscape work is assessed in relation to social history in the work of Ian Burn et al and the social history in the work of Anne Maree Willis. These two types of history are compared and conclusions are made about their similarities and differences in the articulation of identity and culture. It will be concluded that identity and culture are ideas and values which are recycled and relocated with the passage of time and that certain central themes reoccur in the construction of identity and culture
Master of Visual Arts (Hons)
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Platt, Verity J. "Epiphany and representation in Graeco-Roman culture : art, literature, religion". Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422525.

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Penman, Jill Diana. "Spolia and Spectacle: Art Collecting Culture in Late Republican Rome". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/702.

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This thesis looks at the evolution of art collection in the middle to late Roman Republic. Through the examination of military triumphs, manubial structures, and the sculpture collection of the Villa of the Papyri in Herculaneum, this paper investigates the social motivations for art collection. Art’s role in Roman society as both spolia and luxuria is discussed through use of ancient literary sources and archaeological evidence. The evolving role of collection is considered as an expression of national and social identity in a politically changing Rome.
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Sutcliffe, Paul J. C. "Contemporary art in Japan and cuteness in Japanese popular culture". Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/5642/.

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This thesis is an art historical study focussing on contemporary Japan, and in particular the artists Murakami TakashL Mori Mariko, Aida Makoto, and Nara Yoshitomo. These artists represent a generation of artists born in the 1960s who use popular culture to their own ends. From the seminal exhibition 'Tokyo Pop' at Hiratsuka Museum of Art in 1996 which included all four artists, to Murakami's group exhibition 'Little Boy: The Arts of Japan's Exploding Subculture' which opened in April 2005, central to my research is an exploration of contemporary art's engagement with the pervasiveness of cuteness in Japanese culture. Including key secondary material, which recognises cuteness as not merely something trivial but involving power play and gender role issues, this thesis undertakes an interdisciplinary analysis of cuteness in contemporary Japanese popular culture, and examines howcontemporary Japanese artists have responded, providing original research through interviews with Aida Makoto, Mori Mariko and Murakami Takashi. Themes examined include the deconstruction of the high and low in contemporary art; sh6jo (girl) culture and cuteness; the relation of cuteness and the erotic; the transformation of cuteness into the grotesque; cuteness and nostalgia; and virtual cuteness in Japanese science fiction animation, and computer games.
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Xue, Grace H. "Space Between: Asian-American Women Identity, Culture and Contemporary Art". Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/765.

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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.
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