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Bibliografias temáticas / Art appreciation / Teses / dissertações

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Teses / dissertações sobre o tema "Art appreciation"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 31 de julho de 2024

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1

Barry, Marie Porterfield. "Art Appreciation Open Educational Resource". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-oer/1.

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The Art Appreciation course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary. This is an Open Educational Resource (OER), an openly licensed educational material designed to replace a traditional textbook. The course materials consist of 24 lessons each with a presentation, reading list, and/or sample assignment. For ease of adapting, materials are available as PDFs and Microsoft PowerPoint or Word documents.
https://dc.etsu.edu/etsu-oer/1000/thumbnail.jpg

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2

Watson, Victoria Frances. "Adult learning in art appreciation classes". Thesis, University of Nottingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411545.

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3

Barry, Marie Porterfield. "Lesson 01: Introduction to Art Appreciation". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/2.

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This lesson covers the elements and principles of art. Elements of art are the physical parts of the work, including line, shape, form, space, texture, value, color, and time. Principles of art are the ways in which those parts are arranged, including unity/variety, balance, contrast, emphasis, movement, rhythm, and pattern.

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4

Lau, Ho-yin. "Tea vale : a tea appreciation resort /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25952596.

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5

Reid, Joshua S. "Art Appreciation Lecture and Sculpture Walk Tour". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3167.

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6

Mpowe, Lebogang T. "A thematic based professional studies art education curriculum for training junior secondary school art teachers in Botswana /". View thesis, 2002. http://wilson.ccsu.edu/theses/etd-2002-9/ThesisTitlePage.html.

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Thesis (M.S.)--Central Connecticut State University, 2002.
Thesis advisor: Cassandra Broadus Garcia. " ... in partial fulfillment of the requirements for the degree of Master of in." Includes bibliographical references (leaves 92-94). Also available via the World Wide Web.

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7

Barry, Marie Porterfield. "Lesson 23: The Postmodern Body in Art". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/25.

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8

Barry, Marie Porterfield. "Lesson 13: Mirrors in Renaissance and Baroque Art". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/14.

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9

Barry, Marie Porterfield. "Lesson 24: Converging Histories - The Global Art World". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/26.

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This lesson covers contemporary artists that incorporate artistic traditions specific to the histories of various geographic regions including Mariko Mori, Ai Weiwei, Raqib Shaw, Shirin Neshat, Muzaffar 'Ali, Takashi Murakami, El Anatsui.

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10

Kelly, Shelly. "Not so/visual art". Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35925/8/Shelly%20Kelly%20Thesis.pdf.

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Vision and language provide closure to a work and no reinstatement for the artwork's future. Vision and language make the investigative process seem replete; therefore other possibilities are not pursued. Subsequently, there is a need to investigate the perceptual and interpretative process as currently this is dominated by the visual and communicated through language. An examination of this, will show that a gap exists between our perception and our interpretation of an artwork. This gap is dependent on spatial and temporal conditions as the determining factors in our interpretative relationship with artwork. Examining and altering these conditions will lead to a fresh approach in our relationship with art. The qualities of these conditions are inseparable from the way we constitute space, in other words, what we know is inseparable from what we do. Therefore to change our directness in our application of perceiving will inevitably change what we know of an accepted process. Looking at ways of extending this gap between perception and interpretation will empower the space in this gap, and enable meaning to be dislocated and dispersed. This will be achieved by embracing a more experiential approach and allowing the artwork to sustain a more heterogeneous field. The aim of this thesis is to demonstrate alternative possibilities in approaching and interpreting a work of art by shifting conditional limitations.

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11

Dichaba, Edwin. "A thematic based art appreciation curriculum for pedagogical training of junior secondary school teachers in Botswana /". View abstract, 2002. http://library.ccsu.edu/ccsu%5Ftheses/showit.php3?id=1642.

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Thesis (M.S.)--Central Connecticut State University, 2002.
Thesis advisor: Cassandra Broadus-Garcia. " ... in partial fulfillment of the requirements for the degree of Master of Science in Art Education." Includes bibliographical references (leaves 123-125). Also available via the World Wide Web.

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12

Barry, Marie Porterfield. "Lesson 14: Judith and the Heroines of Baroque Art". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/15.

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13

Sprengelmeyer, Robert J. Hobbs Jack A. "Students' written art criticism as measured by a content analysis instrument". Normal, Ill. : Illinois State University, 1989. http://www.mlb.ilstu.edu/articles/dissertations/8918624.PDF.

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Thesis (Ed. D.)--Illinois State University, 19893.
Title from title page screen, viewed Oct. 13, 2004. Dissertation Committee: Jack A. Hobbs (chair), Marilyn P. Newby, Robert M. Steinman, Patricia H. Klass. Includes bibliographical references (leaves 72-73) and abstract. Also available in print.

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14

Barry, Marie Porterfield. "Lesson 02: Elements and Principles". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/3.

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This lesson covers the elements and principles of art. Elements of art are the physical parts of the work, including line, shape, form, space, texture, value, color, and time. Principles of art are the ways in which those parts are arranged, including unity/variety, balance, contrast, emphasis, movement, rhythm, and pattern.

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15

Barry, Marie Porterfield. "Lesson 03: Prehistory - Our Connection to the History of Humankind Before Text". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/4.

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This lesson covers prehistoric art from the Paleolithic and Neolithic Ages. It focuses on cave art (Pech-Merle, Chauvet-Pont-d’Arc, Lascaux) and carved figures (Woman of Willendorf) from the Paleolithic period and megalithic architecture (Stonehenge) from the Neolithic period.

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16

Barry, Marie Porterfield. "Lesson 04: Death and Mourning in the Prehistoric and Ancient World". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/5.

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This lesson covers death and mourning in the prehistoric and ancient world by discussing related art and architecture including, but not limited to, Varna Necropolis, The Flood Tablet / The Gilgamesh Tablet, Ziggurat in Uruk, Royal Tombs of Ur, Great Pyramids of Giza, Tomb of King Tutankhamun, and Book of the Dead of Hunefer.

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17

Barry, Marie Porterfield. "Lesson 05: Ideal Beauty in the Ancient World". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/6.

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18

Barry, Marie Porterfield. "Lesson 06: Divine Architecture". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/7.

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19

Barry, Marie Porterfield. "Lesson 07: The History of Blue". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/8.

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20

Barry, Marie Porterfield. "Lesson 08: The Renaissance". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/9.

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This lesson covers artworks created during the Renaissance in Europe. It begins with a preface on artworks created prior to the Renaissance that focused on Christian ideology and iconography. Artists discussed include Botticelli, Donatello, Michelangelo, Bernini, and Leonardo da Vinci.

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21

Barry, Marie Porterfield. "Lesson 09: Michelangelo- From High Renaissance to Mannerism". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/10.

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22

Barry, Marie Porterfield. "Lesson 10: The Northern Renaissance and Arnolfini Double Portrait". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/11.

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23

Barry, Marie Porterfield. "Lesson 11: Bosch and Other Scenes of the Apocalypse". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/12.

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24

Barry, Marie Porterfield. "Lesson 12: Hans Holbein and Kerry James Marshall". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/13.

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25

Barry, Marie Porterfield. "Lesson 15: Fragonard through the French Revolution". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/16.

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26

Barry, Marie Porterfield. "Lesson 16: What Shocks in 1863". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/17.

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27

Barry, Marie Porterfield. "Lesson 17 Part 1: Reactions to the Modern World-Introduction and Impressionism". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/18.

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28

Barry, Marie Porterfield. "Lesson 17 Part 2: Reactions to the Modern World-Post-Impressionism and Expressionism". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/19.

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This lessons covers the difference between impressionism and expressionism. Post-impressionism is represented through artworks by Vincent Van Gogh, Paul Gauguin, Paul Cèzanne, and Henri de Toulouse-Lautrec. Expressionism is represented through artworks by Edvard Munch, Henri Matisse, Ernst Ludwig Kirchner, and Vassily Kandinsky.

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29

Barry, Marie Porterfield. "Lesson 18: On the Dada of Art versus the Dada of War". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/20.

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30

Barry, Marie Porterfield. "Lesson 19: The Unraveling - Abstraction in the Modern Era". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/21.

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This lesson covers cubism, abstract expressionism, and minimalism. Cubism is discussed with artworks by Pablo Picasso, abstract expressionism by Jackson Pollock, Willem de Kooning, and Mark Rothko, and minimalism by Donald Judd.

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31

Barry, Marie Porterfield. "Lesson 20: Soup Cans! Consumerism! Balloon Dogs! - From Andy Warhol to Jeff Koons". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/22.

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32

Barry, Marie Porterfield. "Lesson 21: Vision and Abstraction by Female Artists". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/23.

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33

Barry, Marie Porterfield. "Lesson 22: Postmodernism". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/24.

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34

劉浩然 e Ho-yin Lau. "Tea vale: a tea appreciation resort". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31983960.

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35

Church, Elizabeth Ann. "An autoenthnographic study of the effectiveness of teaching art appreciation through pinhole photography to home schooled students". unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-08012007-234936/.

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Thesis (M.A.E.)--Georgia State University, 2007.
Title from file title page. Paula Eubanks, committee chair; Akela Reason, Melody Milbrandt, committee members. Electronic text (153 p. : ill.) : digital, PDF file. Description based on contents viewed Oct. 31, 2007. Includes bibliographical references (p. 151-153).

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36

Paul, Diane Elizabeth. "The effect of a multicultural art program on students' art appreciation and attitudes towards other cultures". Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31289.

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The purpose of this research study was threefold: to determine if a multicultural art program would have a positive effect on students' appreciation of their own art work, art from other cultures and attitudes towards other cultures. The program supported a multicultural view of art which emphasized the cultural similarities and values which were common to all students. A nonequivalent control-group design was used within a quasi-experimental framework. One grade eight class participated in the Multicultural Program while the other served as the control group. Both classes were pre- and posttested with the Borgardus Social Distance Scale and a Cultural Appreciation Measure to determine if there was an attitude or appreciation change as a result of the treatment. Student journals and a Journal Posttest also provided data for analysis and reflection. No significant statistical differences were found between experimental and control groups on the pre- and posttest. However, student journals and the Journal Posttest provided data to indicate a significant positive change in students' attitudes towards their own art and the art of other cultures. This was complemented by the researcher's journal which described the classroom proceedings. The results from the journals and the Journal Posttest indicate that teaching art through a multicultural perspective, which emphasizes the similarities across cultures, can change attitudes about art.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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37

Granell, Querol Andrea. "The effect of contemporary art perception: Study of younger and older adults' art appreciation in museum experiences". Doctoral thesis, Universitat Ramon Llull, 2016. http://hdl.handle.net/10803/386510.

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La Psicologia de l'Art estudia les experiències estètiques i les preferències dels individus mentre miren l'art. L'objectiu d'aquesta investigació és analitzar l'apreciació de l'art contemporani en joves i gent gran al MFA de Boston. Es van dur a terme anàlisis quantitatives i qualitatives. L’estudi 1 va mostrar que els joves, més que la gent gran, van trobar que les cartel·les i les converses van contribuir a apreciar l'art contemporani, i més en el context del museu que en el del laboratori. L’estudi 2 va mostrar que el context del museu va contribuir a apreciar l’art, també, en els grups de discussió els joves comentaven que les cartel·les i les converses eren un punt de partida per entendre i apreciar l'art, per la gent gran no van ser tan útils. L'estudi 3 va mostrar que no només hi havia diferències entre la sala d’art contemporani i tradicional -la comprensió de l'art contemporani va ser major en la galeria d'art contemporani-, sinó també entre els grups d'edat -els joves van declarar que els agradava més l'art contemporani i la gent gran van gaudir més de l’experiència de visitar el museu-. Vam arribar a la conclusió que no només les diferències d'edat, sinó també les diferències relacionades amb l'educació i la freqüentació de les visites als museus contribueixen a l'apreciació de l'art. Aquesta investigació és important per demostrar com la gent aprecia i entén l'art contemporani. Per tant, aquests resultats tenen implicacions rellevants per dissenyar programes d’activitats en els museus que involucrin diferents grups de visitants.
La Psicología del Arte estudia las experiencias estéticas y las preferencias de los individuos mientras miran el arte. El objetivo de esta investigación es analizar la apreciación del arte contemporáneo de jóvenes y gente mayor en el MFA de Boston. Se llevaron a cabo análisis cuantitativos y cualitativos. El estudio 1 mostró que los jóvenes, más que la gente mayor, encontraron que las cartelas y conversaciones contribuyeron a apreciar el arte contemporáneo, y más en el contexto del museo que en el del laboratorio. El estudio 2 mostró que el contexto del museo contribuyó a la apreciación del arte. También, las discusiones en el grupo de jóvenes confirmaron que las cartelas y las conversaciones forman un punto de partida para entender y apreciar el arte, para la gente mayor no eran tan útiles. El estudio 3 mostró que no sólo existían diferencias entre la sala de arte contemporáneo y tradicional -la comprensión del arte contemporáneo fue mayor en la sala de arte contemporáneo-, sino también entre los grupos de edad -los jóvenes declararon que les gustaba más el arte contemporáneo y la gente mayor disfrutó más de la experiencia en el museo-. Llegamos a la conclusión de que no sólo las diferencias de edad, sino también las diferencias relacionadas con la educación y la frecuentación de visitas contribuyeron a la apreciación del arte. Esta investigación es importante para demostrar cómo la gente aprecia y entiende el arte contemporáneo. Por lo tanto, estos resultados tienen implicaciones relevantes para diseñar programas en los museos que involucren diferentes grupos.
Psychology of Art studies aesthetic experiences and individuals’ preferences while looking at art. The aim of this research is to analyze contemporary art appreciation in younger and older adults at the Museum of Fine Arts, Boston. Quantitative and qualitative analyses were conducted. Study 1 showed that younger more than older adults found that labels and conversations contributed to liking contemporary art, more in a museum setting rather than in a lab setting. Study 2 showed that the museum context contributed to appreciating the art. Also, group discussion of younger adults confirmed labels and conversations in the museum to be a starting point to understand and appreciate art; for older adults, these were not so helpful. Study 3 showed that not only were there differences between a contemporary and a traditional art gallery -participants understanding of contemporary art was greater in the contemporary art gallery-, but also between age groups -younger adults stated that they liked contemporary art more and older adults enjoyed their museum experience more. We conclude that not only age differences, but also differences related to education and museum visitation frequency contributed to art appreciation. This research is important to demonstrate how people appreciate contemporary art and how they understand it. Therefore, these findings have relevant implications for the design of museum programs about contemporary art to engage different groups of visitors.

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38

Johnston, Jennene, of Western Sydney Hawkesbury University e Faculty of Social Inquiry. "Subtle exchanges : cultivating relations with duration : eastern, western and esoteric approaches to contemplating art practice". THESIS_FSI_XXX_Johnston_J.xml, 1999. http://handle.uws.edu.au:8081/1959.7/419.

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This thesis aims to consider the potential for perception of the subtle exchanges of viewers and artwork; subject and object. This necessitates an examination of ontologies, concepts of the body, perceptive schemas and modes of consciousness that ultimately destabilise the assumed solidity and individuality of subject and object. Exchanges of subtle effects are continually taking place between viewer and object, and the space between subject and object is alive with interaction. Process philosophy is introduced as the basic ontological perspective underlying this reflection of subject-object relations. Three conceptualisations of subject-object interaction are considered: Western, Esoteric and Eastern, and three types of body-mind proposed by these investigations are discussed. The process and practice of cultivation required to activate intuition as a faculty able to perceive subtle effects are considered. This focuses mainly upon Eastern practices, with emphasis on the interrelation of cultivation and the creation/contemplation of visual art works.
Master of Arts (Hons)

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39

Li, Vanessa Lok-Wa. "Effects of talking about art in art appreciation on Chinese writing ability of primary 3 pupils with low academic achievement in Hong Kong /". St. Lucia, Qld, 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17991.pdf.

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40

Carpentier, René. "Concepts of empathy and the nature of aesthetic response applied to visual art appreciation /". The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu148733076121981.

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41

Guarda, Chiara. "The aesthetic appreciation of art philosophical reconsiderations of the relationship between art and beauty : supported by case studies /". [S.l.] : [s.n.], 2005. http://www.zb.unibe.ch/download/eldiss/05guarda_c.pdf.

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42

Busbea, Stephanie Dickson. "The Effect of Constructivist Learning Environments on Student Learning in an Undergraduate Art Appreciation Course". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5385/.

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The purpose of this study was to determine the effects of constructivist methods on student learning in an undergraduate art appreciation class. Three constructivist learning activities were designed and implemented in an undergraduate art appreciation course for non-art majors at Mississippi College. Through these constructivist learning activities, students were involved in their learning throughout the semester in realistic art roles in which they worked as curators, Web page designers, and artists. Six subjects were selected to participate in this case study. Subject data was collected through three methods: interviews with subjects at three points during the semester, student documents produced during the three activities, and a field journal of observations made during the activities. The multiple data sources were triangulated to reveal nine patterns of learning. The data evidence that constructivism results in a deeper understanding of art and art processes than in a typical art appreciation course in which learners are merely passive recipients of knowledge. This was not only indicated by the nine patterns of learning which emerged from the data, but also in the students' awareness and regulating of their cognitive processes. Although the research provided an in-depth understanding of this case and should not represent or be generalized to the entire population of art appreciation students, the results of this study suggest that art appreciation instructors have an opportunity to facilitate high levels of student thinking and encourage metacognitive skills through constructivist methods such as the ones used in this study.

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43

Cason, Nancy F. (Nancy Foster). "The Effect of Interactive Multimedia on the Critical Writings of Art History Survey Students". Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc332664/.

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In response to ideological issues that have emerged the last two decades from feminism, multiculturalism and postmodernism, the introductory art history survey is undergoing major revisions not only in structure and content, but also in instructional methodology. Art history professionals and art educators alike are questioning whether pedagogical methods traditionally employed in the survey are adequate for meeting the goals of visual literacy and development of critical and analytical skills. The purpose of this study was to investigate the effectiveness of supplemental study resources for art history survey students, specifically an interactive multimedia (IM) computer program designed to help students acquire and retain a deeper understanding of works of art. Two research questions were asked: Is IM a more effective instructional format than traditional slide study on achievement measures? Will use of IM impact students' levels of understanding and strengthen and direct their choice of search strategies?

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44

Church, Elizabeth Ann. "An Autoethnographic Study of the Effectiveness of Teaching Art Appreciation through Pinhole Photography to Home Schooled Students". Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/17.

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This research studies the effectiveness of teaching art appreciation to home schooled children ages 10-17 through a DBAE curriculum in pinhole photography via a weekend workshop. An autoethnographic approach to recording data about the students’ learning and my experience as their teacher was used in the research. Data was recorded as journal notes during and after each workshop from my experiences as their teacher and analyzed according to a grounded theory based on open coding. The workshop was open for registration of up to 25 home schooled students of any race, male or female, from the ages of 10 - 17. While the research reports a successful change in students’ appreciation of photography as a result of the workshop, parental values proved to be both an obstacle and area of potential future research.

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45

Politowicz, Zak. "ANALYSIS AND METAPHOR SEARCH STRATEGY CONCERNING VISUAL WORKS OF ART (LANGUAGE, EDUCATION)". Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275390.

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46

Pichayapaiboon, Poonarat Moore Barry E. "A study of the effect of the use of computer assisted instruction in art appreciation in higher education". Normal, Ill. Illinois State University, 1987. http://wwwlib.umi.com/cr/ilstu/fullcit?p8726509.

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Thesis (Ed. D.)--Illinois State University,
Title from title page screen, viewed August 18, 2005. Dissertation Committee: Barry E. Moore (chair), Jack A. Hobbs, Kenneth H. Strand, Thomas E. Malone. Includes bibliographical references (leaves 46-49) and abstract. Also available in print.

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47

Bannister, Randee. "The appreciation of political works of art: The example of "Triumph of the Will"". Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/26573.

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The question that we are considering is how to appreciate artworks that have not only an aesthetic presence but a political side as well. We feel that this question is necessary to consider because in order to have a full appreciation of an artwork it is important to consider all facets of the work, but also refrain from including considerations that are not necessary to include. In order to explain why this question is important and also to show a potential response, we use the example of Leni Riefenstahl's film Triumph of the Will. This film is a perfect example of how the aesthetic and political can combine in art. Other suggestions of how to have a complete appreciation of this film, as we try to show, are insufficient as an answer to our question and so we propose our own theory of the appreciation of not just political artworks but all artworks, that being partial autonomy.

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48

Joslin, Kelly L. "Art Appreciation in Face-to-Face and Online Settings: An Analysis of Course Effectiveness". University of Dayton / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1478709584805326.

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49

De, Biasio Anna <1973&gt. "Novels and museums: N. Hawthorne, H. James and art appreciation in America (1850-1900)". Doctoral thesis, Università Ca' Foscari Venezia, 2004. http://hdl.handle.net/10579/590.

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Questa tesi tratta una serie di opere di Nathaniel Hawthorne e Henry James come documenti che contribuiscono alla formazione della sfera della "cultura alta" nell'America del secondo Ottocento, sia nel campo letterario sia in quello delle arti figurative. Da un lato la questione dell'apprezzamento artistico viene affrontata da un punto di vista storico e sociologico, come fenomeno che acquista rilievo culturale nella seconda metà del secolo. Dall'altro lato, attraverso un approccio semiotico e retorico, le allusioni alle arti visive nei romanzi e in altri scritti di Hawthorne e James vengono lette come strumenti che sollevano il problema dell'autonomia della sfera estetica, e al tempo stesso riformulano in relazione al genere romanzo il ruolo e la funzione interpretativa del pubblico. L'espansione del turismo transatlantico a partire dal 1860, la fondazione dei musei d'arte negli anni Settanta, la grande diffusione del collezionismo dopo la Guerra Civile, stimolano una varietà di scritti centrati sull'importanza di coltivare il gusto collettivo e individuale nel campo delle arti visive. Guide di viaggio, documenti riguardanti la fondazione e la gestione dei musei, libri d'arte e articoli giornalistici promuovono il contatto con l'arte come esperienza volta ad elevare insieme lo spirito, la mente e la condotta. Caricate di significati religiosi (secondo il frequente binomio museo=chiesa), le arti visive vengono proposte come oggetti da contemplare, ma anche come materia di studio e interpretazione, che richiede da parte del pubblico serietà, rispetto, e "buona volontà culturale". Questa tesi sostiene che le opere di Hawthorne e James riflettono lo stesso innalzamento delle gerarchie di gusto che caratterizza il campo delle arti visive. Se Hawthorne dichiara che la sua produzione specialmente l'ultimo romanzo si rivolge idealmente ad un pubblico ristretto, al "lettore gentile" di The Marble Faun si chiede implicitamente di trarre piacere dall'abbondante critica d'arte che pervade il romanzo. L'interesse che Hawthorne dimostra per pittura e scultura come insieme di segni problematicamente aperti alla libera interpretazione, corrisponde alla cospicua oscurità in cui l'autore avvolge i dilemmi morali e i fatti centrali di The Marble Faun: un'oscurità che esige, tanto quanto i riferimenti all'arte del Vecchio Mondo, un pubblico di lettori motivati e attenti. Per l'espatriato James, il contatto con le arti visive diventa una questione di godimento serio, di piacevole dedizione. Da una parte, James abbandona l'approccio prescrittivo che aveva accompagnato Hawthorne nella sua scoperta dei capolavori dell'arte italiana, dall'altra conserva ed enfatizza l'idea della produzione e dell'apprezzamento dell'arte come compito consapevole, profondo impegno morale e intellettuale. James propone la prima teorizzazione programmatica del romanzo come forma artistica seria e libera, adatta a menti mature e intelligenti. Ma mentre libera il romanzo da obblighi e fini morali, allo stesso tempo James incorpora le preoccupazioni etiche nella dimensione estetica. La sua insistenza sull'importanza della resa stilistica nella scrittura creativa si associa al proliferare, nelle sue opere, di ambiguità e discriminazioni morali che sempre più si rivolgono ad un pubblico di lettoriinterpreti. Specialmente negli ultimi romanzi, i riferimenti alle arti visive diventano tutt'uno con un gioco di allusioni colte in cui i significati vengono continuamente differiti, ai quali si può solo accennare indirettamente. Testimoni del prestigio culturale conferito all'arte, queste allusioni artistiche sembrano dunque riflettere la stessa autonomizzazione della "disposizione estetica" che sta alla base del museo d'arte come tipico fenomeno della cultura occidentale. This thesis explores a number of novels and non-fictional works by Nathaniel Hawthorne and Henry James as documents that contribute to shape the sphere of "high culture" in 19th century America, both in the field of the visual arts and in that of literature. On the one hand I confront the issue of art appreciation in a historical and sociological perspective, as a phenomenon that grew into cultural relevance since the second half of the 19th- century. On the other hand, following a semiotic and rhetoric approach, I examine the role of visual art in turning the novels by Hawthorne and James into works that increasingly select their own audience, and at the same time raise the problematic question of aesthetic autonomy. The expansion of transatlantic tourism since the 1860s, the foundation of art museums in the 1870s, and the boom of private art collecting following the Civil War gave rise to a set of discursive patterns that articulated the importance of training the collective and the individual taste in the field of visual art. Travel guides, documents concerning the foundation and the management of museums, art books and journal articles, promoted experience of art as an activity that served to elevate spirit, mind, and manners alike. Endowed with religious connotations (according to the frequent equation museum=church), the visual arts were both propounded as objects of contemplation and as matters of study and interpretation, requiring from the public purpose, respect, and "cultural good will." One of my contentions is that the works by Hawthorne and James examined here reflect the same rise of taste standards that was taking place in the field of the visual arts. While Hawthorne privately declared that his fiction (especially his last novel) ideally addressed a restricted audience, the "gentle reader" of The Marble Faun was implicitly expected to take pleasure in the abundant art criticism that he disseminated through this work. Hawthorne's interest in painting and sculpture as signs not only open to study, but also to free interpretation, matched the considerable opacity with which he treated the moral tangles and the central events of his novel, which demanded a public of motivated and discriminating readers. For expatriate and internationally educated James, experience of visual art becomes a question of serious enjoyment, of pleasurable dedication. While he abandons the prescriptive, dutiful approach that had characterized Hawthorne in his discovery of the Italian art shrines, he retains and emphasizes the notion of production and appreciation of art as self-conscious labor, deep moral and intellectual engagement. James confronts us with the first programmatic theorization of the novel as a serious and free artistic form, suited for mature and intelligent minds. But while he liberates the novel from moral prescriptions and purposes, he simultaneously inscribes the ethical preoccupations into an aesthetic dimension. His insistence on the importance of execution and treatment in the writing of fiction parallels the increase of subtly moral discriminations and ambiguities in his novels, which demand from readers a constant exertion of their interpretive skills. Especially in his last works, the references to the visual arts participate in a cultivated game in which meanings are constantly deferred, and can only be alluded to. Bearing witness to the cultural prestige conferred on art, such artistic allusions appear to reflect the same autonomization of the "aesthetic disposition" that underlies the art museum as typical phenomenon of Western culture.

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50

Haip, Renee Ann 1962. "The impact of the photographer on wilderness appreciation: A case study of Ansel Adams". Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/278527.

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The life of Ansel Adams is presented as a case study of the photographer's impact on wilderness appreciation. Adams' impacts through his involvement with the Sierra Club, as well as his impacts as an individual, are discussed. Adams' effectiveness in promoting wilderness appreciation is assessed, and implications for contemporary landscape photographers are drawn.

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