Rozprawy doktorskie na temat „Ethnographic art”
Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: Ethnographic art.
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „Ethnographic art”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
1
Flannagan, Wickham Catesby. "Translation: A Journey Toward Ethnographic Art". OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2233.
Pełny tekst źródłaStreszczenie:
This paper breaks down my process of transitioning to a new environment through ethnographic documentation. Through the progression of my creative work, I explore the various ways in which I express my own internal feelings through my art. By expressing an alienation within a foreign country in a multitude of filmic ways, these depictions help illustrate my mental and physical journey. My work is informed by psychoanalytic theory and I am most influenced by Jacques Lacan and Sigmund Freud. These theories help me understand the human condition and how I create media art to help me come to terms with my surroundings. Another part of my influence is the genre of ethnographic film, and in my use of this style, I attempt to portray the isolation that I’ve experienced as an American citizen while living in Ankara, Turkey. Many contemporary artists have influenced my approach to the post-production treatment of my ethnographic footage such as David Lynch and the Propeller Group. In addition to a summary of these influences, I discuss the thesis exhibition and my plans for the future.
2
Seiler, Jena M. "Sensing Security through Contemporary Art and Ethnographic Encounters". Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou151022822064186.
Pełny tekst źródła
3
Braddock, Alan C. "Displacing Orientalism Thomas Eakins and ethnographic modernity /". [S.l. : s.n.], 2002. http://catalog.hathitrust.org/api/volumes/oclc/53916454.html.
Pełny tekst źródłaStreszczenie:
Thesis (Ph. D.)--University of Delaware, 2002.Principal faculty advisor: Michael Leja, Dept. of Art History. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
4
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.
Pełny tekst źródła
5
Lai, Shu-Ju Alice. "Virtualizing art education : An educational ethnographic case study of a distance art education course /". The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486457871785818.
Pełny tekst źródła
6
Muhlheim, Kimberly A. "An Auto-Ethnographic Study of a Novice Itinerant Art Teacher". Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/67.
Pełny tekst źródłaStreszczenie:
This study is an auto-ethnographic examination of reflections of a novice itinerant art teacher. The teacher taught at four schools within her first two years of teaching. Reflections of her first two years are recorded, then analyzed, and suggestions for other novice itinerant teachers are provided
7
Adejumo, Christopher O. "Youth development through a community art program : an ethnographic case study /". The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371126363.
Pełny tekst źródła
8
McSorley, Julie Ann Frances. "Education and art participation : an ethnographic case study of sociocultural context". Thesis, Queensland University of Technology, 1997.
Znajdź pełny tekst źródłaStreszczenie:
This study is concerned with establishing links between education and art participation that can be utilised for teaching cross-cultural art criticism in schools. The thesis asserts that, in addition to the traditional focus of inquiry on the professional art critic (Barrett, 1991; Lee, 1988; Walker, 1992), there are other examples of art participation that can inform educational art criticism.
At a time when art educators are maintaining that approaches to art criticism need to take account of the cultural diversity of both students and art, the model of the professional art critic as a guide for art evaluation seems quite inappropriate. In order to address the shortfall in traditional art criticism models, the investigation aligns itself with a distinct group of art educators who support a sociological theory of art. Since the art engaged in local communities rarely finds representation in school art programs (Hart, 1991a), the investigation focuses on the art participation in a local community setting. The study concentrates on the art activities of one family, in order to reveal the depth of the social and cultural aspects of their art participation.
Using Sieber' s (1971) definition of art participation to involve the artist, audience, and user, local art participation in the community is theorised as a model for
the contextual examination of art in schools (Anderson, 1995). The art participation described through the study is analysed in terms of the sociocultural elements of participation, participatory activities and roles, and forms, categories, and functions of art. Implications for art education are drawn from the study, a tentative model is
offered, and a future research agenda for educational art criticism is outlined.
9
Dennis, Deanna Elizabeth. "An Ethnographic Study of Six Ecuadorian Indigena Women Who Make Shigras". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1380889429.
Pełny tekst źródła
10
Southgate, Colin Scott. "Lives in the informal art trade : an ethnographic case study of Maputo, Mozambique". Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8113.
Pełny tekst źródłaStreszczenie:
Includes bibliographical references (leaves 121-123).This minor dissertation investigates the lives and businesses of informal artists and vendors in Maputo, Mozambique. The research points to a swell in numbers of artisans in Maputo over the past dozen years. Tourism has developed in Mozambique; expanding the clientele for Maputo's informal artisans. The increase of artisans has had a few negative effects including a drop in prices due to competition and a compromise in artistic quality. The seven interviewees explain the reality of the informal art business as one of subsistence.
11
Ashmore, Nicola L. "Art and identity : interpretation and ethnographic collections in regional museums, Britain, 1997-2010". Thesis, University of Brighton, 2011. https://research.brighton.ac.uk/en/studentTheses/cd9be436-9f81-4f8b-a1ce-3c7125a3d21e.
Pełny tekst źródłaStreszczenie:
This doctorate examines the redevelopment of ethnographic collections between 1997 and 2010. The collection and interpretation of ethnographic objects has been the subject of much debate between, anthropologists, museum studies scholars and curators who have sought, on the one hand, to reveal and, on the other, to resist colonial representations in contemporary museums. These debates, as well as the longstanding concern about the purpose of the museum itself, informs this research, which focuses upon the period of the New Labour administration (1997- 2010) and the impact of its cultural diversity agendas upon regional museums. It investigates how regional museums have responded to the shifting demands of cultural policies and, in particular, how specific ethnographic collections have been redisplayed and reinterpreted, and the use of art commissions and artists to do so.
12
Washell, Cathryn F. "The Handweavers of Modern-Day Southern Appalachia: An Ethnographic Case Study". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3174.
Pełny tekst źródłaStreszczenie:
One of the most prominent traditions associated with the Southern Appalachians is the art of weaving. Extensive research has focused on the history of Appalachian weaving, but there is little on the current weaving community. Today, the region still serves as an axis for weaving, and many practicing weavers, weaving instructors, and learning institutions can be found in Southern Appalachia. The core of this study is the interviews with ten weavers that reside and practice their work in Appalachia. Using concept coding, the transcripts of the interviews led to the development of four major themes that highlight the weavers’ discovery of their weaving passion, what continues to be a source of motivation for weaving, how today’s weavers use weaving as a source of income, and how weaving continues to be deeply connected to Southern Appalachia’s art and craft making traditions.
13
Farkhatdinov, Nail. "From decoding to enacting : an ethnographic study of the social relations at exhibition sites : a contribution to the "new sociology of art"". Thesis, University of Aberdeen, 2013. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=196295.
Pełny tekst źródłaStreszczenie:
This thesis is a sociological exploration of emergent social relations at art exhibition venues. It focuses on the experience of art which the dominant “decoding” metaphor fails to describe conceptually and empirically. To grasp the interactional and emergent character of interaction with art, I constructed a framework that defined audiences as sets of emerging social relations. Building on the concepts of experience (Merleau-Ponty), enchantment (Gell), multiplicity and enactment (Latour, Mol and others), I emphasise the situated and embodied nature of art experience. The study draws on a series of ethnographic observations at the exhibition sites of a number of Moscow art institutions. It is supplemented with unstructured interviews with visitors and art professionals at these venues (artists, curators, wardens etc.). Conceptually, I have suggested a dual social ontology that art establishes in the events of perception. Bringing uncertainty into visitors’ actions, art enables interactions in which visitors establish meanings, and leads to practices that make their art experience organized and less problematic. The thesis examines the ways art experience becomes stable through meaning-making events supported by socio-material relations. These relations enable participants to produce recognizable actions. The process of meaning-making at the exhibitions is seen not as a direct communication of pre-given aesthetic meanings (as the decoding perspective would assume), but rather is understood as consisting of multiple instances of micro-level discoveries which mediate an “enchanting” form of art experience. Enchantment engenders the social relations of expertise which visitors practically achieve in their interaction with material objects and through performances of meaningfully recognizable actions. T Though the study mainly focuses on the experience of interactive art installations, I argue that the conceptual considerations and empirical results are relevant to the experience of other forms of art. The thesis is intended to make a contribution to the so-called “new sociology of art”, not just by subjecting the dominant Bourdieu-inspired assumptions about “decoding” to critique, but also by pointing out the conceptual limits of much of the new sociology of art, and pointing towards new conceptual horizons for sociology’s ongoing encounter with matters artistic.
14
Simpson, Stuart A. "The artist in the field : investigating tourist performativity and ethnographic methodology through art practice". Thesis, Nottingham Trent University, 2008. http://irep.ntu.ac.uk/id/eprint/294/.
Pełny tekst źródłaStreszczenie:
This research centres on an artistic exploration of ethnographic methodologies whilst investigating tourist performativity and the presentation of self within tourist documentation. Central to this presentation is the performance of the documented smile. The materiality of this research comes from documentary evidence (video, sound, photography, interviews, fieldnotes and diaries) recorded during a fieldtrip around popular tourist destinations in Europe. Data gathering methods, such as participant observation, reflexive writing and informal interviews with tourists, were employed not just to capture the tourist experience of others, but also to explore the multiplicity and variability of the researcher self within the field. The representation of the researcher within the research findings has become one of the issues that this project has sought to address. Two practical outputs, a primary case study entitled Smile: Formaggio con Queso (a randomly configuring computer networked installation) and a secondary case study (an interactive kiosk), interface a database constructed from the field data. Both case studies support research into how ethnographic methods might be used to inform the production processes of an art project, and, additionally, how digital art practice might contribute to the presentation of post-paradigm ethnography. The practical issues of data collecting and the implications of using the self as part of the data source are highlighted. This will be of interest to artists working in field environments where the self and 'other' is synonymous. Furthermore, the primary case study challenges conventional representational ethnographic modes in order to facilitate new kinds of qualitative and ethnographic insights. A reflexive autoethnographic approach to writing the thesis has been utilised to validate my personal narrative as a line of inquiry.
15
Wheeler, Sandra. "Anchoring time : an ethnographic study of public responses to Elizabeth Margot Wall's paintings /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0005/MQ42459.pdf.
Pełny tekst źródła
16
Oskay, Malicki Harika Esra. "Home-work : a study of home at the threshold of autoethnography and art practice". Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/11761.
Pełny tekst źródłaStreszczenie:
The movement of people and the fluxes of the world create complex topographies and destabilise the location of our homes. In this practice-based PhD, I explore the shifting sense of home that this manifests. The dramatic transformation of the boundaries of home that demarcates the borders between ‘here’ and ‘there’, “us” and ‘them’ is examined through an autoethnographically informed approach, which takes the researcher’s self as a medium as well as a source of research. Based on personal experience, the changing nature of ‘home’ is studied as it is anchored into the self, adopting an approach that studies the cultural through the personal. In this research, the methods of research are: strategies of observing, attending to the unsettling forces of the unfamiliar, documenting my personal responses on a daily basis, and unpacking some of the existing forms and practices that sustain ideas of belonging and proposing new forms of expression to this unhomely feeling. In this study, the objective is the study of the field (including the dissolving of the ground one is standing on) and the proposing new forms, new visions. This being the case, my methods come from the disciplines of autoethnography and art practice. Throughout my PhD, I aimed to negotiate the different means these two approaches work through their field that challenges the issues of representation, documentation and presentation in cultural inquiry. This thesis explores the transformation of the sense of home and my own sense of belonging based on personal experience. It is also a contribution to the discourse that has flourished between ethnography and contemporary art over the last two decades. The project is situated at the transdisciplinary site between artistic and ethnographic disciplines and reconsiders their mutual interest in the work of cultural inquiry. With a particular focus on the moment that inquiry meets its public, I explored other possibilities of “graphy” (writing) that conventionally translates as a descriptive, textual representation in ethnography. I strived to suggest alternative forms through the ways artistic inquiry work on its field that takes this moment of encounter as a crucial part of its process. Thus, the thesis is an account of these negotiations that complements the experiments in my art practice, through which I have explored the dialogue between the two distinctive approaches to inquiry.
17
Marçal, Hélia Pereira. "Embracing transience and subjectivity in the conservation of complex contemporary artworks: contributions from ethnographic and psychological paradigms". Master's thesis, Faculdade de Ciências e Tecnologia, 2012. http://hdl.handle.net/10362/8467.
Pełny tekst źródłaStreszczenie:
Dissertação para obtenção do Grau de Mestre em Conservação e Restauro, Perfil Ciências da Conservação Especialização em Arte ContemporâneaDrawing from philosophy and social sciences, mainly ethnography and psychology, this dissertation explores new roles that conservators often assume, while proposing new methodologies for artist’s interviews. In order to preserve complex artworks, such as installations or performances, conservation theory needs to embrace transience, and therefore suggest new and more adequate methodologies. Several authors already accepted change, and proposed concepts that acknowledge artworks’ trajectories. However, currently applied methodologies do not follow that perspective and endanger preservation of such complex artworks. Through a comparison between ethnographic objects and complex artworks, ethnographic methods showed promise for extrapolation into the conservation field. Examples from Bali’s cremation rituals and the Portuguese artist Francisco Tropa (b. 1968, Lisbon) helped illustrate this question. Ethnographic methods applied for interviewing and analysing the artist’s discourse were of great value, as they provide for validation and data reproducibility. From these methods, content analysis stood out by allowing a better structuration and validation of the artist’s discourse. During this process, conservators’ role was re-considered. Substantially different tasks and decisions are for conservators to make. Ultimately, are they interpreters, performers, executers, reporters, archivists, actants? Inevitably, this study held more questions than offered answers. However, it is by challenging currents practices, placing them constantly under scrutiny, that possibilities emerge. New theories for contemporary art preservation, contemporary in themselves, need to be uncovered in order to, subsequently, being questioned again. It is only through this demanding process that contemporary art conservation can continue to be propelled forward.
18
Macdonald, Nancy. "The art of destruction : an ethnographic study of the urban graffiti subculture in London and New York". Thesis, Brunel University, 1997. http://bura.brunel.ac.uk/handle/2438/5223.
Pełny tekst źródłaStreszczenie:
This thesis examines the urban graffiti subculture within the cities of New York and London. It was undertaken in an attempt to move beyond some of the negative stereotypes that characterise this subculture, its members and their illegal activities as inherently problematic, pointless and inane. Based on two years of ethnographic fieldwork in London and New York, it argues that graffiti is not senseless and mindless vandalism, but a pursuit that grants its mainly male and adolescent practitioners important and substantial rewards. Most notably these include fame, respect, autonomy, self direction and some sense of masculine status. Illegality is identified as the subcultural element underpinning these identity enhancing affordances. It is presented, firstly, as a masculine resource; a tool which young men can use to confront risk and danger and gain, through this, the recognition and respect of their peers and the defining elements of their masculine identities. Secondly, it is argued that adolescent subcultural members use their illegal status to promote societal rejection, discourage adult intervention and secure their subculture as a 'world apart'. This free space grants them autonomy, self direction and a chance to escape 'real life' and the problems and restraints which they may, as adolescents, experience there. On the basis of this, it is argued that three analytic revisions must be made if we are to understand this and other 'illegal' subcultures. First, we must move away from a passive model of delinquency. In this study, deviance is depicted as deliberate, functional and, thus, more than the consequence of an externally applied label. Second, we must move towards a more active model of identity construction. graffiti writers build and mould their identities through their illegal activities. This defines them as active agents rather than textual subjects who have merely taken up an inscribed position in a provided text or discourse. Third, we must look at what is being done in conjunction with who is doing it. Subcultural studies of the past have presented the subculture as a working class vehicle of resistance. However, they have rarely problematised its characteristically adolescent and masculine membership. Failure to include and analytically weave together factors of age, gender and illegality will, it is contended, result in a theoretically incomplete subcultural account.
19
Honarbin-Holliday, Mehri. "Art and identity : an ethnographic investigation into art education in the Islamic Republic of Iran, with the research as a participant ceramic artist in Canterbury". Thesis, University of Kent, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420828.
Pełny tekst źródła
20
Berry, Jessica, i n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art". Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.
Pełny tekst źródłaStreszczenie:
By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
21
Berry, Jessica. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art". Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365478.
Pełny tekst źródłaStreszczenie:
By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Full Text
22
Griebling, Susan Joan Ubbing. "Designs for Making a Tree: An Ethnographic Study of Young Children's Work in the Visual Arts". University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1241802700.
Pełny tekst źródła
23
Barbera, Lucy Elizabeth. "Palpable Pedagogy: Expressive Arts, Leadership, and Change in Social Justice Teacher Education (An Ethnographic/Auto-Ethnographic Study of the Classroom Culture of an Arts-Based Teacher Education Course)". Antioch University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1255357023.
Pełny tekst źródła
24
Valencia-Tobon, Alejandro. "Your love hurts down to my bones : exploring public understandings of dengue fever in Medellin, Colombia, through an anthropology-art-science investigation". Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/your-love-hurts-down-to-my-bones-exploring-public-understandings-of-dengue-fever-in-medellin-colombia-through-an-anthropologyartscience-investigation(d3f04ff7-a8e5-47c6-ac80-d8bb54d346c8).html.
Pełny tekst źródłaStreszczenie:
This is a study of the creation and negotiation of different forms of knowledge about dengue fever. I explore how anthropology, in collaboration with ideas and practices drawn from science and art, may transform public understandings of dengue. Dengue is a vector-borne disease transmitted to humans by the bite of a mosquito which is infected with the dengue virus. Mosquito-borne diseases have normally been treated through vector control and the elimination of breeding sites. Until 1960, the use of the pesticide DDT allowed the virtual eradication of Aedes aegypti (Ae. aegypti) in many places of the world. DDT was banned in most of the world by 1970 and by 1980 the focus on vector-control was replaced by a discourse of sanitation, in which health authorities tried to ‘educate’ populations and ‘teach’ proper hygienic habits to avoid mosquito-human contact. At present, these practices are changing again. The World Health Organisation (WHO) suggests that dengue incidence could be reduced at least 50% by 2020 through applying health campaigns and social interventions that involve having people participating in the control of dengue outbreaks. In this thesis I explore how WHO guidelines are applied in the control of dengue in Medellín, and how we can think about the concepts of ‘knowledge’, ‘education’ and public health campaigns through ethnographic methods. My project has been about looking at how different understandings – or different forms of knowledge – are part of interactions of different ‘publics’, non-expert citizens, virologists, entomologists and artists. My argument is that health campaigns should be re-designed – privileging relations and stimulating debate – by focusing on experience and moving towards managing the disease and living with the mosquito. Contrary to the different models enacted in health campaigns – which neglect the value of everyday experiences – I advocate for interdisciplinary collaboration as a relational art strategy that can generate an intersubjective exchange of experiences.
25
Mallinson, William James. "The Khecarīvidyā of Ādinātha : a critical edition and annotated translation". Thesis, University of Oxford, 2003. http://ora.ox.ac.uk/objects/uuid:945071bf-3282-4492-8f18-159417f5d554.
Pełny tekst źródłaStreszczenie:
This thesis contains a critical edition and annotated translation of the Khecarīvidyā of Ādinātha, an early haṭhayogic text which describes the physical practice of khecarīmudrā. 31 witnesses have been collated to establish the critical edition. The notes to the translation adduce parallels in other works and draw on Ballāla's Bṛhatkhecarīprakāśa commentary and ethnographic data to explain the text. The first introductory chapter examines the relationships between the different sources used to establish the critical edition. An analysis of the development of the text concludes that its compiler(s) took a chapter describing the vidyā (mantra) of the deity Khecarī from a larger text to form the framework for the verses describing the physical practice. At this stage the text preserved the Kaula orientation of the original work and included verses in praise of madirā, alcohol. By the time that the text achieved its greatest fame as an authority on the haṭhayogic practice of khecarīmudrā most of its Kaula features had been expunged so as not to offend orthodox practitioners of haṭhayoga and a short fourth chapter on magical herbs had been added. The second introductory chapter concerns the physical practice. It starts by examining textual evidence in the Pali canon and Sanskrit works for practices similar to the haṭhayogic khecarīmudrā before the time of composition of the Khecarīvidyā and then discusses the non-physical khecarīmudrās described in tantric works. There follows a discussion of how these different features combined in the khecarīmudrā of the Khecarīvidyā. Then a survey of descriptions of khecarīmudrā in other haṭhayogic works shows how the haṭhayogic corpus encompasses various differnt approaches to yogic practice. After an examination of the practice of khecarīmudrā in India today the chapter concludes by showing the haṭhayogic khecarīmudrā has generally been the preserve of unorthodox ascetics. In the third introductory chapter are described the 27 manuscripts used to establish the critical edition, the citations and borrowings of the text in other works, and the ethnographic sources. The appendices include a full collation of all the witnesses of the Khecarīvidyā, critical editions of chapters from the Matsyendrasaṃhitā and Haṭharatnāvalī helpful in understanding the Khecarīvidyā, and a list of all the works cited in the Bṛhatkhecarīprakāśa.
26
Englund, Tindra. "Live action role play (larp) in a context of conflict: An ethnographic study of larp in Ramallah". Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22650.
Pełny tekst źródłaStreszczenie:
This study contributes to the specific segment of the research field of peace and conflict studies (PACS) pertaining to the use of art as a tool for conflict transformation towards a positive peace. It is original for its choice of subject - live action role play (larp) as a potential tool for conflict transformation. The purpose of the study is to explore, describe and interpret the conditions for, and the content of, larp in present-day Palestine in order to construct a normative framework for how larp could be used as a tool for conflict transformation. In order to answer the question on the uses of this art form in Palestine, and the effects it has on the participants, their immediate surroundings, and the larger society around them, original empirical material was produced during a two-month long minor field study in Ramallah. It consists of ethnographic observations and ethnographic field interviews, as well as ten in-depth semi-structured interviews conducted between 14th of February and the 12th of April 2014. The material was analyzed with regard to Galtung’s theory of positive peace and Lederach’s theory of conflict transformation as well as to other selected theoretical and empirical work on the role of art as a tool for conflict transformation.In the specific context that has been studied, the normative framework constructed through these findings show that larps and the larping community is encouraging a personal (norm-questioning) development within its participants. It also shows that larps could be used as a tool for evoking the moral imagination, helping people to imagine a future in peace, but also as a tool for rehabilitation and processing strong emotions. Within this framework, it is also suggested that larps could be used as a tool advocacy work as well as nonviolent resistance. Finally, larps could be used as a tool for creating a liminal space and social platforms where Israelis and Palestinians could interact on neutral ground. This thesis claims that larp is a potentially significant tool for conflict transformation and therefore deserves further research within the field of Peace and Conflict Studies.
27
Dos, Santos Paes Isabela. "Mouvement : individuation et transformation : une approche ethnographique de l'Odin Teatret". Thesis, Evry, Institut national des télécommunications, 2011. http://www.theses.fr/2010TELE0033.
Pełny tekst źródłaStreszczenie:
Pour Boltanski et Chiapello (1999), la critique artiste a été récupérée par le capitalisme. La motivation repose aujourd’hui grandement sur certains principes au nom desquels il était critiqué dans les années 60. Pourtant n’existe-t-il pas dans certaines organisations artistiques des grandeurs, valeurs ou pratiques, des modes d’organisation et de vie commune, constituant un ferment critique qui n’a pas été récupéré par le capitalisme contemporain ? Une exploration de type ethnographique a été menée au sein d’Odin Teatret, au Danemark, une organisation où la critique artiste s’élabore et se vit. Nous avons observé et participé au total pendant six mois aux créations et activités de ce groupe hors norme. Dans un premier temps, en nous inspirant de la description dense de Geertz, nous avons constaté que, bien que parfois avec des formes et une acuité particulière, bien des ressorts décrits par Boltanski et Chiapello étaient à l’oeuvre mais que cependant certaines énigmes demeuraient. Abandonnant l’approche cognitive de Geertz pour celle plus réflexive et tournée vers les affects de Stewart, nous avons ensuite entrepris de poursuivre et re-décrire notre expérience en insistant sur le désir, la transformation, la présence, pour chercher une autre manière de faire sens, riche et affective, de l’activité à Odin. Dans un troisième temps, cette expérience à Odin est réfléchie grâce aux concepts de Stiegler. Nous comprenons alors que ce lieu est le théâtre de certains processus différents de l’entreprise capitaliste, fut-elle organisée en réseau. L’individuation psychique, collective et technique, le rôle du désir et d’une certaine économie libidinale, le rôle du non calculable, l’insistance de la recherche non de motivations mais de ce qui fait que la vie mérite d’être vécue… sont autant de facettes qui ne peuvent être que partiellement récupérées par l’économie capitaliste. Par ailleurs la présence, l’ouverture au possible, la créativité, peut-être même l’authenticité, demandent un entraînement long, répété et épuisant (exigeant). A la différence de la standardisation et de la pulsion dans la consommation, il s’agit de mettre son être en mouvement – non pour devenir une forme précise, mais cherchant le mouvement pour lui-même qui ouvre à la présence et à une intensité de vie. Une critique artiste, réinterrogeant ces éléments, peut toujours être présente, même virulente contre un capitalisme qui fait de nous des endormis et des corps stupides[non communiqué]
28
Roach, Rebecca C. "Transatlantic conversations : the art of the interview in Britain and America". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:117b36f3-feda-4faa-9e68-2fa77ae3a0a6.
Pełny tekst źródłaStreszczenie:
This thesis assesses the role of the interview form within literature from the late nineteenth century to the present day. The project contends that the interview, although styling itself as a revealing, authentic, private confession, is a genre of life writing that deeply troubles the model of singular Romantic authorship that it simultaneously promotes. The thesis argues that the interview has been a key site for negotiating conceptions of authorship since its inauguration. Exploring issues of publicity, life writing and gossip, through nineteenth-century newspaper depictions of scandals (chapter one), I argue that the act of interview publication is a staging of the speaking self in the public sphere. In chapter two I triangulate discussions of journalism, celebrity and material modernism to argue that the characteristic modernist authorial persona, far from being revolutionary, avant-garde or iconoclastic, was in fact deeply retrograde. Chapter three examines how the interview operated as a negotiation of the study, the marketplace and the middlebrow in the 1930s, with reference to the popular Everyman magazine series “How Writers Work.” The development of an interrogative interview model in the postwar era forms the subject of chapter four, as I demonstrate how the backdrop of the Cold War transformed the ways in which writers as diverse as Ezra Pound and the Beat poets responded to the interview in their work. The penultimate chapter argues that the Paris Review interview offers a hitherto unrecognised link between New Criticism and New Journalism and can revitalise discussions around the historical institutionalisation of literary studies. Chapter six considers the interview’s prominent contemporary position within world literature as a purveyor of literary value and archive of global cultural memory. Overall, the project illustrates how central the interview has been in the cultural construction of authorship in the last 150 years.
29
Hey, Jessica L. "A New Queer Trinity: A Semiotic, Genre Theory, and Auto-Ethnographic Examination of Reeling: The Chicago LGBTQ+ International Film Festival". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493984077068621.
Pełny tekst źródła
30
Mitchell, Suzanne. "At the water's edge : an integration of ethnographic and archaeological methods in the study of rock art in northern central British Columbia, Canada". Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/32448.
Pełny tekst źródłaStreszczenie:
Pictographs occur frequently in the landscapes of northern central British Columbia, but they have received modest academic attention. As a result, there is limited understanding of rock art as social practice and its significance within larger cultural landscapes. This research integrates First Nations traditional knowledge with archaeological data in order to investigate the waterscape context and iconography of pictographs across three First Nations traditional territories. The insights into the rock markings provided by First Nations elders offer important informed perspectives about the images and the landscape that, when combined with archaeological data and formal analytical processes, enable the study of the social understanding of rock art and its context within the expansive territories of this region.
31
Whetter, Lindsay. "Faith inside : an ethnographic exploration of Kainos Community, HMP The Verne". Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/22974.
Pełny tekst źródłaStreszczenie:
In April 1997 Kainos Community in HMP The Verne, Dorset, England became the first faith-based prison unit to be established in the Western world. The foundations and ethos of Kainos are based on Christian concepts of ‘loving your neighbour’ and forgiveness. The community operates as a hybrid therapeutic community (TC) and cognitive behavioural programme (CBP). It is open to and inclusive of prisoners of all faiths and none. The aim of this study is to explore the Kainos community ethnographically, guided by the principles of grounded theory and thematic analysis, in order to investigate whether or not Kainos ameliorates some of the de-humanising aspects of prison, and if so, how it rehumanises the prison space. Theoretically, this study highlights the dehumanisation of imprisonment, and illuminates the role that a holistic, Christian-based approach can play in terms of making the prison environment ‘more human’. My findings reveal that on Kainos there are physical, liminal and spiritual spatial mechanisms, in which a family of sub-themes interact to enable flourishing to occur. Kainos has created a physical space in which spaces of architecture and design; sensory experience; movement; and home interact to enable flourishing, whereby prisoners feel ‘more homely’, ‘free’, safe, and calm. Kainos has created a liminal space in which spaces of atmosphere; identity; home; and creativity interact to enable flourishing, empowering prisoners in their self-expression; as a cathartic tool; and as a means of regaining or creating a new identity. Kainos has created a spiritual space in which spaces of Christian activism, love, and forgiveness enable self-worth, healing, transformation, and meaningful change. The implication is that Kainos has created spaces of flourishing, safety and peace within an otherwise dehumanising carceral space, and this plays an important role in the process of transformational change imperative in the desistance process. If society must have prisons, this study concludes that Kainos provides a model for how they should be.
32
Blair, Jeremy Michael. "Animated Autoethnographies: Using Stop Motion Animation As a Catalyst for Self-acceptance in the Art Classroom". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804983/.
Pełny tekst źródłaStreszczenie:
As a doctoral student, I was asked to teach a course based on emerging technologies and postmodern methods of inquiry in the field of art education. The course was titled Issues and Applications of Technology in Art Education and I developed a method of inquiry called animated autoethnography for pre-service art educators while teaching this course. Through this dissertation, I describe, analyze, interrogate, value, contextualize, reflect on, and artistically react to the autoethnographic animated processes of five pre-service art educators who were enrolled in the course. I interviewed the five participants before and after the creation of their animated autoethnographies and incorporated actor-network theory within the theoretical analysis to study how the insights of my students’ autoethnographies related to my own animations and life narratives. The study also examines animated autoethnography as a method of inquiry that may develop or enhance future teaching practices and encourage empathic connections through researching the self. These selected students created animations that accessed significant life moments, personal struggles, and triumphs, and they exhibited unique representations of self. Pre-service art educators can use self-research to create narrative-based short animations and also use socio-emotional learning to encourage the development of empathy within the classroom. I show diverse student examples, compare them to my own animations, and present a new model of inquiry that encourages the development of self by finding place in chaos, loving the unknown, embracing uncertainty, and turning shame into a celebration of life.
33
Arney, Lance A. "Political pedagogy and art education with youth in a street situation in Salvador, Brazil : an ethnographic evaluation of the Street Education Program of Projeto Axé". [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002052.
Pełny tekst źródła
34
Arney, Lance A. "Political Pedagogy and Art Education With Youth in a Street Situation in Salvador, Brazil: An Ethnographic Evaluation of the Street Education Program of Projeto Axé". Scholar Commons, 2007. https://scholarcommons.usf.edu/etd/608.
Pełny tekst źródłaStreszczenie:
Projeto Axé is a non-governmental organization that carries out political-pedagogical work and art education for children and adolescents living in a street situation in Salvador, Bahia, Brazil. I conducted an exploratory ethnographic study with Projeto Axé's Street Education program in order to observe its day-to-day activities and to conduct a utilization-focused program evaluation (Patton 1997) of its pedagogical praxis. This thesis will describe how ethnographic fieldwork methods are interwoven with the political-pedagogical approaches of Projeto Axé's Street Education program and explain how street educators attempt to construct citizenship with participants in the Street Education program. Findings are based on an analysis of data collected during three months of fieldwork, during which I observed the day-to-day activities of the Street Education program and formally interviewed seven street educators.
Projeto Axé's street educators employ ethnographic fieldwork methods in order to more holistically understand the everyday lives of street youth, as well as the dynamics of "street culture" that emerge in the particular urban spaces frequented by street youth. The result is an anthropological understanding that serves as the foundation for street education activities, through which street youth are provoked to think critically about their everyday reality in order to transform it (Freire 1970). The construction of citizenship through Street Education is based on the "pedagogy of desire" (Carvalho 2000), a psychological-sociocultural theory of learning developed by the organization specifically for working with youth living in a street situation. Street education and the construction of citizenship begin and happen with the desire of street youth. The content of street education is not fixed or predetermined, but emerges out of a particular street youth's desires, needs, and dialogues with street educators.
I conclude that, combined with Freireian-inspired political pedagogy and the pedagogy of desire, the use of ethnographic fieldwork methods by street educators is crucial for Projeto Axé's attempts at realizing radical transformations in the lives of street youth. Furthermore, Projeto Axé's anthropological approaches to the social and political inclusion of street youth increase the adaptability of its street pedagogy to the local socio-cultural realities emergent in other urban spaces.
35
Jeffries, Peta. "Becoming "Brave and Gallant" : Decolonising the myths of Burke and Wills; Cross-cultural exchanges and the co-production of knowledge during the Victorian Exploring Expedition and the subsequent Relief Expeditions". Thesis, Federation University Australia, 2015. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/103008.
Pełny tekst źródłaStreszczenie:
The history of the Victorian Exploring Expedition (VEE), also known as ‘Burke and Wills’, has commonly been told as a story of ‘brave and gallant men’ who ventured into an unfamiliar landscape and became victims of the ‘ghastly blank’ interior of Australia. Visual artists and historians have memorialised these men as solo-hero explorers who sacrificed their youth and life potential for the sake of Australian nation. The myth of Burke and Wills is a constructed narrative and symbol of glory and achievement that denies the involvement of significant others in exploration and geographical knowledge creation. The path the VEE created through the centre of Australia opened up the broader continent for rapid colonisation and imperial expansion. The tragic legacy of the deaths of Burke and Wills is part of the Australian identity, however, some major aspects of the VEE successes and failures have been sidelined, silenced and even completely ignored in many historical accounts. The historical and visual art accounts that contributed to the memorialisation of Burke and Wills often denied the involvement of other exploration team members, the relief expeditions who went in search of the missing explorers, various intermediaries, guides, go-betweens and significantly Aboriginal peoples’ close involvement and or resistance to interior exploration. Yandruwandha people have been remembered as a friendly and accommodating community who assisted the explorers in their last days and who cared for John King. Within the archives and social memories are examples of agency, power, resistance, and varied perspectives of Burke and Wills. This ethnographic history asks why relations between the explorers, Aboriginal peoples and landscape have been told the way they have and provides examples of encounter and exchange, mutual adaptation and the co-production of knowledge as a way to decolonise the myths of Burke and Wills.Doctor of Philosophy
36
Payne, Rachel Ann. "11.30 on a Sunday morning : a micro-ethnographic study exploring how year 7 learners negotiate meanings when working with an artist in a contemporary art gallery". Thesis, University of Bristol, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730878.
Pełny tekst źródła
37
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 źródła
38
Simmons, Kathryn Elizabeth. "Textiles in Rural Bolivia: Where Does the Art of Traditional Textile Making Fit Into Today's World?" University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1418306303.
Pełny tekst źródła
39
Jolly, Martyn. "Fake photographs making truths in photography /". Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.
Pełny tekst źródła
40
Doyen, Audrey. "Les relations entre les musées d'ethnographie et les marchés de l'art africain et océanien en France, en Suisse et en Belgique : construire la valeur et s'approprier l'altérité". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA099/document.
Pełny tekst źródłaStreszczenie:
Cette recherche interroge le champ des objets ethnographiques au prisme de leur circulation entre deux médiateurs situés entre leur production et leur réception : les musées d’ethnographie et les marchés de l’art. Aucune recherche scientifique ne s’est jusqu’à maintenant penchée en profondeur sur les relations entretenues entre ces deux intermédiaires dans le champ de l’art africain et océanien, si ce n’est pour décrire ou critiquer le cas précis de la fondation du Musée du quai Branly-Jacques Chirac.Mobilisant l’anthropologie et la muséologie, ma recherche est basée sur un travail de terrain intensif auprès des galeries, des maisons de ventes aux enchères et des musées en Suisse, en France et en Belgique entre 20013 et 2017. L’analyse, fondamentalement compréhensive, montre les enjeux territoriaux à l’œuvre et souligne l’impact d’une montée de l’événementiel tant du côté des musées que des marchés. Ma recherche dresse un portrait du marché, de son fonctionnement et de ses hiérarchies à l’heure actuelle et propose une typologie des différentes relations et acteurs afin de comprendre le processus de fixation de la valeur des objets. Sur un marché où domine la spéculation et une grande part d’arbitraire, je montre que cette valeur est intimement liée à la maîtrise de l’information. Finalement, l’analyse met en évidence les « prêts-à-penser » et processus développés par l’entier des acteurs du champ pour rationaliser une partie de ces pratiques spéculatives. J’espère souligner dans cette recherche les formes nouvelles de production, d’appropriation, de consommation et de valorisation de l’altérité par notre société aujourd’huiThis PhD thesis presents the valuation of ethnographic object through the prism of their circulation between two stakeholders : art markets and ethnographic museums. No scientific research has so far looked in depth at the relation between this two actors in the tribal art’s field, except to describe or criticise the specific case of the Musée du quai Branly-Jacques Chirac’s foundation.My research mobilising anthropology and museology is based on intensive fieldwork with galleries, auction houses and museums in Switzerland, France and Belgium between 2013 and 2017. The comprehensive analysis shows the territorial issues between this different stakeholders and highlights the increase in events both in museums and markets. My research also draws a portrait of the market, its functionning and its hierarchies and proposes a typology of the different relations and actors. The main objective was to understand the process of fixing an object’s value. In a market dominated by speculation and a lot of arbitrariness, I highlight that this value is intrinsically linked to the control of information. Finally, the analysis shows the « how-to-think » and processes developped by all the actors in the field to rationalise some of these speculative practices. I hope I have emphasised in this work the new forms of production, appropriation, consumption and the valorisation of otherness by our society today
41
Gaydos, Benjamin. "[ethno]graphic design". VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/98.
Pełny tekst źródłaStreszczenie:
Visual communication is a part of everyone's daily existence. It is a ubiquitous mode that shapes not only the environment that individuals inhabit, but the very identity of the individual. Graphic designers, who create the vast majority of the visual communication encountered, play a crucial role in the production of cultural identity. It is a necessity that designers understand that role, as agents of cultural production.[ethno]graphic design is an ever-evolving approach to graphic design which utilizes anthropological methods in the creative process. This document presents a collection of projects which take an anthropological approach to the design process, utilizing techniques developed by cultural anthropologists to aid the design process primarily ethnographic fieldwork, participant observation, collaboration, multivocal representation and reflexivity.
42
Malm, Helena. ""Våga släppa taget" : Det osäkra och det oväntade som potensial i bildundervisning". Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-39526.
Pełny tekst źródłaStreszczenie:
Abstract My objective with this master's thesis is to contribute development both to the education for art-teachers and to art education primary and secondary school. This master thesis discusses three students’ different art-based processes in a visual project about sustainable site-specific design. The project is based on ethnographic documentation of a “non-place” chosen by students themselves. The students are working with visual ethnographic documentation, making pictures in different materials, process-documentations, process-dairy, reception-calls, portfolio-analysis and digital presentation. The project aims reflections over how students can transform their experiences and knowledge, and later, in their role as art teachers, using the visual methods learnt, and using the unexpected and uncertain as a potential, to organize education with primary school pupils. ‘ The purpose of the thesis is to study students learning in, about, and through visual processes in an art-project, where the design of the teaching includes risk-taking elements. To delineate the purpose, I will work on the following issues: 1. What is made visible in students' digital presentations regarding different learning processes, sub-results and final results at the denotative and connotative level? 2. What does the design of the teaching mean for the students’ learning, in relation to the following four problem areas: - Image production with materials, techniques and tools - Image, reception talk and image theory - Documentation, evaluation and assessment - The location, the drawing room and other conditions for picture teaching. 3. Will the unexpected and uncertain as a potential for learning, be made visible in the students' processes, partial and final results? If so, how? This is a qualitative study of three teacher - students' digital presentations. The material in the study includes three teacher students' digital presentations from an exam in an art project; research notes from observations in four course elements; informal interviews with two of the students. All of the three students’ digital presentations start with ethnographic inspired documentations from their chosen “non-places”. These pictures is first analysed, through visual-semiotic analyse. With this result in mind the individual visual processes through different tasks combined with materials analyses with a semiotic gaze and results in three cases followed up with a process-analysis of the three cases. The theoretical context of the study is based on constructionistic theoretical perspective and semiotics as a theory of analysis, problematising the four aspects of the learning-field of art-education, identified in the thesis’ systematic research overview. The aim is to discuss design of education and three students’ experiences of their process-oriented investigative artwork. A work based on divergent thinking, where processes and results are not predetermined and where neither students nor teachers can anticipate them and thus have to dare to let go, which is why the study wants to highlight the unexpected and uncertain potential in image education. The result shows three students’ different visual processes, both in what drove and inspired them, and how they worked in visual materials. It shows that the concept in the design of the task challenged the students to explore the unsecure and the unexpected. Through their artwork and the studies four aspects design of education in teacher education and compulsory school were problematised and several new questions about education in art were raised.
43
Farr, Alisa. "The ear that you are able to hear me with : theorising art practice through auto/ethnography". Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2347.
Pełny tekst źródłaStreszczenie:
Thesis (MA (VA)(Visual Arts))--Stellenbosch University, 2008.This thesis investigates social aspects of the production and distribution of artworks, approaching these from the context of the every-day life of the artist. Its main aim is to form a theoretical framework and personalised application of auto/ ethnography to enable the artist to study her own practice within a specific context. The thesis serves as a counterpart to the practical work that is expected of a Master of arts student at this particular university and in this department, the University of Stellenbosch, Department of Visual Arts. As such, it works in tandem with the practical component to posit an understanding of the artworks as they have been formed in a complex postmodern society. I, as the artist and writer, discuss my work by drawing from autobiographical experiences and theoretical frameworks as texts. Auto/ethnography, the chosen methodology, is informed by post-structuralism, Marxist and neo-Marxist theories and feminist discourses, among others. It calls for researchers to apply self-reflexivity in their practice and, hence, must include the situated position of the ‘I’ of the researcher, as this inevitably impacts on research findings. My writing on my art-making process becomes a form of ‘emergent’ research that studies the relationship between the self and the social. This takes place through the use of autobiographical texts and the above-mentioned theoretical frameworks, combined with relational and dialogical theories of art, and frameworks that study art production and distribution from sociological perspectives. I write myself as constituted within ideology and subject to societal structure, but also possessing agency. I write on my art as a product determined by my position in society; my intentions and aims for the artwork and considerations on how its distribution might affect me; and its function as a text that carries meanings that differ from those which I, at any given time, might ascribe to it. The framework in which I write on my art-making process also draws on complexity theory. Within this framework I approach the self as relational, society and the environment as a complex self-structuring process, and the meaning of text as created and re-created in a web of interactions, between the self (of the writer/artist and reader/viewer) and the society (as built up of different interrelating subsystems). Writing auto/ethnographically to produce an academic dissertation within this specific academic community can, I believe, serve as a means through which I can question my own objectivising claims, or claims that lie in theoretical and personal frameworks that I draw from. Implicit in this thesis is the question: how can an artist, working within the confines of an academic framework, ensure that an ethical component exists between the self and other in her working practice?
44
Underhill, Helen P. V. "Art school, art world, art circuit : an ethnography of contemporary visual art education and production in two Palestinian locations". Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30303/.
Pełny tekst źródła
45
Issiyeva, Adalyat. "Russian orientalism: from ethnography to art song in nineteenth-century music". Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121101.
Pełny tekst źródłaStreszczenie:
Russia's ambivalent geo-political and socio-cultural position, as a self-avowed intermediary between the East and the West, shaped its double identity and played an important role in the creation of Russia's own Oriental Other. This dissertation examines the political and cultural resonance of nineteenth-century Russian art songs with oriental or Asian subjects, both within and outside of Edward Said's theoretical construct of "Orientalism." It also addresses how Russian art song composers adapted, transformed and assimilated music drawn from ethnographic sources published during the century. By contextualizing nineteenth-century Russian Orientalism through an analysis of folksong collections, ethnographies, and art songs this study addresses the very formation of the Russian image of Otherness in conjunction with the construction of a specifically Russian national and musical identity. Drawing on an extensive yet under-analyzed and under-theorized repertoire of Russian folk and art songs with oriental subjects, as well as a host of writings by Russian literati, travelers, ethnographers, and ordinary individuals about the music and culture of Russian oriental minorities, this dissertation reveals the changing nature of the theory, practice, and creation of nineteenth-century Russian music with oriental subjects, as well as the diverse and often contradictory representations of oriental Others and the extraordinary complexity of the colonizer-colonized relationship in Russia.La position géopolitique et socioculturelle ambivalente de la Russie, en tant qu'intermédiaire autoproclamé entre l'orient et l'occident, a formé sa double identité et cela a joué un rôle important dans la création de son propre Autre Oriental. Cette thèse examine l'influence politique et culturelle de plusieurs mélodies russes du dix-neuvième siècle ayant des sujets orientaux ou asiatiques, à la fois à l'intérieur comme à l'extérieur du contexte « d'orientalisme » d'Edward Said. Elle analyse également la manière dont les compositeurs de mélodies russes ont adapté, transformé et assimilé la musique provenant de sources infographiques publiées tout au long du siècle. En contextualisant l'Orientalisme du dix-neuvième siècle à l'aide d'analyses de collections de chansons folkloriques, d'ethnographies, et mélodies russes, cette étude s'intéresse à la formation même de l'image russe de l'Autre conjointement à l'édification d'une identité nationale et musicale spécifiquement russe. Basée sur un répertoire abondant – bien que peu analysé et théorisé – de mélodies russes ayant des sujets orientaux, de même que plusieurs écrits d'érudits, de voyageurs, d'individus ordinaires et d'ethnographes russes à propos de la musique et de la culture des minorités orientales russes, cette thèse met en lumière la nature changeante de la théorie, la pratique et la création de la musique russe du dix-neuvième siècle ayant des sujets orientaux, de même que les représentations variées et souvent contradictoires de l'Autre oriental et l'extraordinaire complexité de la relation colonisateur-colonisé en Russie.
46
Coffey, Roland M. "Expressionism and Ethnography: Max Pechstein in Nidden and Palau". VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/4004.
Pełny tekst źródłaStreszczenie:
This thesis offers a new way to conceptualize Hermann Max Pechstein’s “primitivism” as a kind of ethnographic “primitivism.” By creating a constellation that connects Pechstein’s Nidden and Palau-based projects, Paul Gauguin’s “primitivist” aesthetic, and the research produced by German ethnographers, I argue that the “documentary” nature of Pechstein’s work paradoxically merges the “scientific” aspects of ethnography with his, and more generally, other Expressionists’ interest in the “primitive.” In addition, the following work demonstrates that the purportedly “scientific” representations and visual accounts of South Seas natives that ethnographers like Otto Finsch produced in the late 1800s and early 1900s heavily and problematically relied on an aestheticization of these foreign people that renders them as decorative, “exotic” objects, which are in many ways subjugated to the gaze of and “on display” for the Westerners examining them. This thesis ultimately focuses on how Pechstein’s representations of people from Palau effectively combine the style typical of most Expressionists and an impulse towards ethnographic depiction not seen in the work of his Brücke colleagues.
47
Haviland, Maya. "Side by side? : practices of collaborative ethnography through creative arts". Phd thesis, Canberra, ACT : The Australian National University, 2012. http://hdl.handle.net/1885/109596.
Pełny tekst źródłaStreszczenie:
In this thesis I investigate collaborative ethnography through creative arts as a growing global field of practice, based on common influences from anthropology and contemporary art. I seek to understand the nature of this field and to critically examine some of the assumptions that we make as collaborative ethnography/art practitioners about our work as forms of collaboration and social change. Practices of collaborative ethnography through creative arts occur in diverse settings around the world and produce different creative forms such as books, films, photography and theatre. Despite this diversity they share similar ways of working, relationship dynamics and socio-political motivations. I examine the range of social and political agendas that are being furthered using collaborative ethno/art practices and consider the ways in which the motivations of project facilitators shape these agendas and the social relations surrounding projects.
The original contribution that this thesis makes is a critical examination of notions of authorship in collaborative ethnographic/arts practice and the flow of benefits from this kind of work over time. I use the recent history of conflict surrounding control of materials from the Archivo Fotogr{u1EA5}fico lnd{u1E2F}gena and the Chiapas Photography Project in Mexico as a major case study. This case illustrates that the social, organisational and economic dynamics surrounding collaborative production, and the reception of resulting works by audiences and markets, shape the ways in which authorship and creativity are being understood within collaborative ethnographic/art projects over time. I argue that although collaborative ethno/art practices are acts of co-creation the nature of co-creativity in these projects is frequently obscured by modernist preoccupations with individual authorship. The complexities and potential of co-creativity as a growing form of contemporary cultural creation risks being obscured and misunderstood by the focus on this concern.
Examining the social and organisational structures surrounding collaborative ethnographic/art projects, with a focus on the New Orleans based Neighborhood Story Project another major case study in my research, I argue that there is a professionalization of collaborative ethno/art practice occurring. The recent experiences of the Archivo Fotogr{u1EA5}fico lnd{u1E2F}gena reveal the institutional and organisational structures accompanying the professionalization of this kind of work risk reinforcing the very social and economic inequities that motivated the practices in the first place. The ways in which dynamics of control and flow of benefits from works created in collaborative ethno/art projects play out over time can inadvertently yet directly contradict the socio-political goals which motivated their original establishment.
My research methods included participatory research with a number of projects in Australia, the USA and Mexico; interviews with twenty-five project facilitators from a range of international projects; and examination of the works and histories of a number of long running projects, including the twenty-year history of Chiapas Photography Project in Mexico.
48
Wolfe, Mary Melissa. "The Influence of Ethnography on the Indian Portraits of Elbridge Ayer Burbank". The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392019638.
Pełny tekst źródła
49
Birch, Dianne. "Adolescents whose parents are divorced: an interview study and ethnographic analysis". Diss., Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/49983.
Pełny tekst źródłaStreszczenie:
Eleven adolescents whose parents were separated or divorced were interviewed regarding their experiences. Emphasis was on their positive and negative experiences and their ways of coping with their problems. The interviews of these high school freshmen were systematically analyzed using Spradley’s ethnographic methodology. The 6 girls and 5 boys lived in maternal, paternal, and joint custody. Two of the adolescents had experienced death of a parent as well as divorce. The adolescents volunteered to participate in this study and were a non-clinical sample.
Contrasts were drawn based on sex, age at the time of divorce, and availability of both parents to the adolescent. Differences in maturity and responsibilities followed sexually stereotyped patterns. Age at the time of divorce seemed to have little effect on their experiences. Availability of parents was important in providing continuity and stability. If the adolescent did not have access to both parents, other adults such as grandparents or other family members sometimes served a mediating function in the experiences of the family.
An overriding theme for all of these adolescents was the need for stability and predictability in their families. Each had experienced losses of important major relationships and changes in family patterns. These losses threatened the stability needed. Their coping efforts involved ways to increase the stability and predictability in their lives. Many adolescents thought they were more mature as a result of their parents’ divorce. Some adolescents became closer to their families, assuming major household and childcare responsibilities. Others withdrew from family interaction and were very lonely. With stability in the family, these adolescents could focus on age-appropriate activities and continue developmental progress.Ph. D.
incomplete_metadata
50
Desmitt, Claire. "Comment l'amour de l'art vient aux enfants : ethnographie des dispositifs, pratiques et acteurs de la « démocratisation culturelle » entre École primaire et musée d’art". Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H035.
Pełny tekst źródłaStreszczenie:
En se fondant sur les apports des Sciences de l'éducation et de la sociologie de la culture, de l'éducation, de l'enfance, de l'action publique et de la socialisation, cette thèse cherche à montrer comment se construisent précocement les dispositions des enfants vis-à-vis des « mondes de l'art », pour parler comme Howard Becker, ou autrement dit comment l' « amour de l'art » vient (ou non) aux individus, et ce dès l'enfance. Nous cherchons en particulier à répondre aux questions suivantes : comment peut s'imposer très tôt un arbitraire culturel et des catégories de perception et d'appréciation comme celles d' « art », d'« œuvre d'art », de « culture » ou d' « artiste » ? Comment façonne-t-on, dès l'enfance, des êtres sociaux ayant incorporé les attitudes et habitudes, les dispositions mentales et comportementales, associées au discours dominant du prosélytisme culturel ? Comment parvient-on à imposer des modes d'appropriation légitimes des biens culturels ? Comment différentes catégories d'agents de socialisation s'approprient-elles ces normes et comment contribuent-elles à l’entreprise d’inculcation d’un rapport de déférence à l’art ? Et comment peuvent émerger des espaces de résistance à l'ordre culturel, tant du côté des agents socialisés que des agents de socialisation ? Pour explorer ces questions, nous nous appuyons sur une série d’enquêtes ethnographiques menées dans trois musées d'art et plusieurs écoles primaires, articulant observation directe et entretiens, permettant de décrire et d’analyser des dispositifs (non seulement les lois, les institutions mais aussi, dans une perspective foucaldienne, les règles, les discours ou encore les aménagements architecturaux), des acteurs (institutions nationales et supranationales, agents muséaux et de l'Éducation nationale, personnel politique, parents) et des pratiques socialisatrices (dans le cadre des musées d’art en particulier, en lien avec l’institution scolaire et les familles). Cela nous amène à reposer la question de la « démocratisation culturelle », en tant que catégorie d’action publique, dans un contexte scolaire marqué par l’injonction à développer l’éducation à et par l’art, et dans un contexte économique où les institutions et les biens culturels occupent une place importante dans la production de richessesOur thesis is situated at the crossing of education sciences and sociologies of culture, childhood, public action and socialization. It seeks to show how dispositions toward « Art worlds », to speak like Howard Becker, are early built. In other words, we are trying to know how the « love of art » comes (or not) to people from childhood. We are particularly interested in answering the following questions : how a cultural arbitrariness is early imposed ? How categories of perception and appreciation as « art », « artwork », « culture » or « artist » are built ? How children are shapped to incorporate attitudes and habits, mental and behavioral dispositions which are associated with the dominant discourse of cultural proselitism ? How norms of legitimate appropriation of cultural goods are imposed ? How differents categories of socialization agents appropriate these norms to inculcate a respectful report to art ? And how spaces of resistance to cultural order can emerge on the side of adults and children too ? To explore those questions, we relied on a fieldwork in three art museums and several primery schools, articulating direct observations and interviews. With this qualitative approach, we described and studied what Michel Foucault calls « dispositifs » (not only laws, ordonnances of institutions but also rules, speeches and spacial and architectual developments), actors (national and supranational institutions, museums, schools and political agents, parents), and pratices of socialization (particularly in art museums, in connection with school institution and families). That brings us to ask the question of « cultural democratization », as a type of public action, in a school context marked by an injonction to develop education to and by art. We also paid attention to an economic context where cultural institutions and goods occupy an important place in wealth production