Teses / dissertações sobre o tema "Minneapolis Society of Fine Arts"
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Veja os 18 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Minneapolis Society of Fine Arts".
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Merz, Alissa. "BigPharmaSlut Using Social Media to Encourage Vulnerability & Positive Behavioral Health Changes in Society". Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1266.
Texto completo da fonteJones, Todd R. "The Relationship Between Lowell Mason and the Boston Handel and Haydn Society, 1815-1827". UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/83.
Texto completo da fonteMonico, Francesco. "Outline of a subversive technopoetic : for a libertarian pedartgogy". Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/3078.
Texto completo da fonteLandis, Tamra R. "How a Successful Collecting Society Can Transform an Art Museum: A History of The Georgia Welles Apollo Society at the Toledo Museum of Art". Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522759729069838.
Texto completo da fonteBouxsein, Benjamin D. "An Analysis of the Depiction of Romantic Relationships in Western Cinema Compared to Cultural Perceptions of Relationships". Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556721347157763.
Texto completo da fonteRoberts, Kristopher. "your little voice: An autoethnographic narrative on philosophy, technology, relationships, and the arts". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1525293031814062.
Texto completo da fonteOgden, Jenna Noelle. "The Leprous Christ and the Christ-like Leper: The Leprous Body as an Intermediary to the Body of Christ in Late Medieval Art and Society". Cleveland State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=csu1305075738.
Texto completo da fonteLissade, Yolette. "The Effect of an Arts-Based, Anger-Management Intervention for Girls Displaying Aggressive Behavior Who Are Being Reared Without Their Fathers". Thesis, NSUWorks, 2015. https://nsuworks.nova.edu/fse_etd/25.
Texto completo da fonteBigley, James C. II. "As Tall As Monsters". University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396875288.
Texto completo da fonteThomason, Emily C. "Catholic Transtemporality through the Lens of Andrea Pozzo and the Jesuit Catholic Baroque". Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1596048028639872.
Texto completo da fonteBalkir, Nur. "Visual Culture in the Context of Turkey: Perceptions of Visual Culture in Turkish Pre-Service Art Teacher Preparation". Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9935/.
Texto completo da fonteBland, Kasey Dawn. "The Life and Career of Fashion Designer, George Stavropoulos". University of Akron / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=akron1217262462.
Texto completo da fonteMello, Márcia Maria Lopes de. "Modernidade, colagem e tropicalidade: os hotéis de Morris Lapidus em Miami nos anos 1950". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-16012019-092152/.
Texto completo da fonteGenerally, this dissertation aims at identifying the relationship between architecture and consumer culture, which defines the identity of Miami\'s modern architecture in the second post-war. The concept of Miami Beach as a seaside resort has been transformed throughout its history. Its winter hotels from the mid-1910s to 1945--intended for the auto industry millionaires--are replaced by a new typology of post-war hotel, the hotel-resort for the American middle class. Specifically, this work examines Morris Lapidus (1902-2001)\' hotel-resorts in Miami Beach in the 1950s, which define the identity of the city\'s modern architecture and which, in turn, characterizes the image of the city as a seaside resort. Lapidus\' hospitality industry work emerges as an informant of an architecture with maximum attention on the user\'s human scale. Its stores, built in the Depression era, and its post-war hotels for the middle class, both meticulously designed, have emerged as vehicles that contributed to the formation of the optimistic and progressive nationalist culture encouraged by the Franklin Roosevelt federal government in these historic periods. The historical polemic generated on such Lapidus\' hotel work, associated with the paradoxes present in the architectural design composition of its buildings, is divided between the dogmatic modern interpretation of the International Style and the postmodern review, centered on the rediscovery of humanism. The narrative of the thesis is based on this controversy, whose core is the question about taste and quality in architecture instigated by this controversial work. This work interprets the paradoxes of these hotel-resorts as a Lapidus\' design methodology, centered on the dialectic of contrasting design elements. From this compositional dialectic, a hybrid architecture is formed, accessible to the emerging middle-class, consumerist and mobile, of the second postwar. This hybridism is strategically planned as a design methodology--a collage. Architecture as collage is assembled from the choices of elements drawn from diverse sources, which are appropriated and recreated by the architect. The diversity of project sources comes from the circularity of ideas--exhibitions, publications, and travel. The heyday of Lapidus\' career as an architect is the Fontainebleau Hotel (1954), the first building by the then interior designer, who was validated by its collection of American Main Street stores designed during the Depression. The Fontainebleau Hotel interiors are derived from the design method developed for his stores, while its architecture descends from the formative work of the Brazilian architect Oscar Niemeyer. The tropical modern architecture of the Fontainebleau established the typology of the post-war Miami Beach hotel-resort, which in turn redefined its seaside resort concept. After half a century, Miami\'s modern hotel architecture, originated with the Fontainebleau Hotel, is \"preserved\" under the slogan Miami Modern-MiMo. In the third millennium, the MiMo, transformed into a consumer brand, is the real estate vehicle for the preservation of the modern architecture in Miami.
Yu-leKang e 康雨樂. "Research on the Fine Arts Organizations and Their Publications in the Early 20th-century of Northern China-A Case study of Chinese Painting Research Society". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/tgn33e.
Texto completo da fonteVaughan-Evans, Bronwen. "A study of selected community-based arts projects in KwaZulu- Natal". Thesis, 1997. http://hdl.handle.net/10413/5709.
Texto completo da fonteCrooks, Nicholas. "An investigation of the concept of 'mediated art' within the context of Rosalind Krauss's notion of the Post-Medium condition". Thesis, 2012. http://hdl.handle.net/10413/9138.
Texto completo da fonteKavka, Tomáš. "Umělecké spolky střední Evropy v kontextu společenské modernizace 19. století". Doctoral thesis, 2013. http://www.nusl.cz/ntk/nusl-322556.
Texto completo da fonteWoźniak-Koch, Milena. "Kolekcja i tożsamość. Kolekcjonerstwo warszawskiej burżuazji i inteligencji pochodzenia żydowskiego jako wyraz identyfikacji kulturowo-narodowej (1880-1939). Studium przypadków". Doctoral thesis, 2020. https://depotuw.ceon.pl/handle/item/3651.
Texto completo da fonteThe problem of Warsaw collecting seen as a phenomenon of social significance remains an insufficiently studied aspect of Polish cultural life. In this work the figures of four Warsaw collectors shall be presented: Edward Reicher, Leon Franciszek Goldberg-Górski, Gustaw Wertheim and Bronisław Krystall. The listed collectors were representatives of a specific, now largely forgotten, class – the bourgeoisie and intelligentsia of Jewish descent. Many Warsaw collectors came from so-called assimilated circles, acultured to Polishness. This fact finds confirmation in research done by Joanna Hensel, Tadeusz Jaroszewski, as well as in the archival sources in the National Museum in Warsaw and in the Reports of the Society for the Encouragement of Fine Arts from the years 1880-1939. Of course, this does not mean that the only buyers were collectors of Jewish descent. However, they were a group significant enough to merit being classified as distinct, with thought given to its source. We are dealing with a separate, as of yet undescribed problem situated on the borderline between art history and social history. Although researches of provenance are aware of the fact that the so-called assimilants bought art on a large scale, the subject is given only a perfunctory treatment. The problem of the so-called Jewish collecting is usually dismissed with a statement describing it as a shallow and derivative imitation of the customs of the aristocracy and landed gentry, resulting from the sudden enrichment of this group in the second half of the nineteenth century. Excluding the valuing judgment, this is true as viewed through the lens of social-economic history, or rather it is a microscopic fragment of the whole truth. Limiting the explanation of the phenomenon to this single aspect without taking into account important social and cultural processes which affected Jews is not only insufficient, but even completely distorts its meaning, leaving a wide margin for simplifications which reduce the whole issue to the stereotype of the rich “Jewish collector”. The schematic image of the “Jewish collector” has in general existed as the opposite, a peculiar semantic negative of the collector from the landed gentry or aristocracy, based in national traditions, recognized a priori as performing an action which is civic and patriotic in its character. Thus, the collecting of a cultural legacy by "the Other” is received less favorably. Such a polarizing view of collecting as performed by two different classes results, on the one hand, from a selective perception of history, and on the other, from a limited methodology of collecting studies, which makes it possible to overlook the social context. The collections of Rejcher, Goldberg-Górski, Wertheim and Krystall were assembled as a result of certain social tensions, constituted an element of the social and cultural identity of a particular group, which Anna Landau-Czajka termed the “third nation”, suspended between two cultures, not part of the Jewish community, but simultaneously not admitted to Polishness. The collections were not only the end result of certain processes, but they 'participated' in them, in this way contributing to the creation of identity. As was noted by Renata Tańczuk, in her studies on the universal nature of collecting as a cultural and social practice: “The collection, being an element of the collector's extended self, is simultaneously his realized identity and a biographical object. It manifests his personal, social and cultural identity. It is not only the material representation of the collector's identity, but it also facilitates its creation process; it allows the individual to know themselves, to become rooted within the surrounding society and culture, gain a perception of the continuity and cohesion of their own existence.”