Siga este link para ver outros tipos de publicações sobre o tema: Photography – Social aspects – History.
Teses / dissertações sobre o tema "Photography – Social aspects – History"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Photography – Social aspects – History".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja as teses / dissertações das mais diversas áreas científicas e compile uma bibliografia correta.
1
Supartono, Alexander. "Re-imag(in)ing history : photography and the sugar industry in colonial Java". Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11909.
Texto completo da fonteResumo:
This thesis seeks to examine the ways that the success of the Dutch Empire at the turn of the twentieth century was represented and celebrated in the photographic albums of Dutch sugar industrialists in Java. It aims to show how the photographic practices that developed in the colony in parallel with its industrialisation informed the ways that the colony was imagined in the metropolis and the colony. Whether social portraiture, topographic studies or depictions of industrial machinery and infrastructure, the photographs of the sugar industry were part and parcel of a topical vernacular tradition that generated distinct visual themes in the development of popular photographic genres, and which reflected the cultural hybridity and social stratification of the local sugar world. This analysis is pursued through close reading of the photographic albums of the Pietermaat-Soesman family from the Kalibagor sugar factory in Java. These albums exemplify how the family albums of sugar industrialists retained the familiarity and cult value of the family album whilst illustrating the values and attitudes of the colonial industry and society. What is more, the Pietermaat-Soesman albums underline the significance of the albums' materiality; their story is not only one of images, but also a story of objects. I specifically pay attention to the role of photographers and commercial photo studios in the formulation of the pictorial commonplace of the sugar industry. It is the collaboration between sugar industrialists and colony-based photographers that reveals the social necessity, ideological constraints, pictorial conventions and cultural idioms of colonial industry and society in the Dutch East Indies. Largely understudied in both the Dutch and Indonesian histories of photography, this material, I argue, may problematise the ideological premises of ‘colonial' photography.
2
Johnson, Stacey. "Taking pictures, making movies and telling time : charting the domestication of a producing and consuming visual culture in North America". Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35900.
Texto completo da fonteResumo:
The dissertation examines how image-making, a common pastime, was made common. It investigates the ways in which the production and consumption of images in the context of the North American family contributed to the development of a distinctly domestic and privatized visual culture, and the transformation of the home into a site for privatized spectatorship.Four cultural forms (No. 1 Kodak, Box Brownie, Cine Kodak and Cine Kodak 8) are specified in this development, all pioneered by the Eastman Kodak Company. The dissertation traces Eastman Kodak's direct involvement in the popularization of image practices. It analyzes strategies used by them to make this possible, namely an appeal to the becoming lifestyles of the bourgeois and middle-classes.
The analysis links the popularization of image-making and consuming practices to other popular amusements (i.e. cycling, cinema-going) to work against an artifact-centred analysis. Issues of gender and generation are critically evaluated as concepts used to instill image-making as a popular, family practice. Shifts in modern temporal and spatial experience, as well as mobility are also explored in relation to popular image-making.
3
Laurence-Allen, Antonia. "Class, consumption and currency : commercial photography in mid-Victorian Scotland". Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3469.
Texto completo da fonteResumo:
This thesis examines a thirty year span in the history of Scottish photography, focusing on the rise of the commercial studio from 1851 to assess how images were produced and consumed by the middle class in the mid-Victorian period. Using extensive archival material and a range of theoretical approaches, the research explores how photography was displayed, circulated, exploited and discussed in Scotland during its nascent years as a commodity. In doing so, it is unlike previous studies on Scottish photography that have not attended to the history of the medium as it is seen through exhibitions or the national journals, but instead have concentrated on explicating how an individual photographer or singular set of images are evidence of excellence in the field. While this thesis pays close attention to individual projects and studios, it does so to illuminate how photography functioned as a material object that equally shaped and was shaped by ideological constructs peculiar to mid-Victorian life in Scotland. It does not highlight particular photographers or works in order to elevate their standing in the history of photography but, rather, to show how they can be used as examples of a class phenomenon and provide an analytical frame for elucidating the cultural impact of commercial photography. Therefore, while the first two chapters provide a panoramic view of how photography was introduced to the Scottish middle class and how commercial photographers initially visualized Scotland, the second section is comprised of three ‘case studies' that show how the subject of the city, the landscape and the portrait were turned into objects of cultural consumption. This allows for a re-appraisal of photographs produced in Scotland during this era to suggest the impact of photography's products and processes was as vital as its visual content.
4
Souza, Fernando Artur de. "A construção cultural da fotografia como discurso na arte contemporânea". Universidade Tecnológica Federal do Paraná, 2013. http://repositorio.utfpr.edu.br/jspui/handle/1/680.
Texto completo da fonteResumo:
Este trabalho apresenta uma discussão acerca de relações estabelecidas entre a fotografia e a arte contemporânea, a partir de um viés em que a produção artística dialoga com a produção fotográfica de âmbito familiar. A fotografia é assumida como um processo mediador culturalmente construído, levando em conta aspectos de sua conformação tecnológica, bem como de seus usos sociais, ambas dimensões consideradas preponderantes para a produção de significado para estas imagens. Para estabelecer estas relações através de uma perspectiva interdisciplinar, o texto busca integrar pontos de vista de áreas do conhecimento que contribuíram para um entendimento mais complexo da fotografia em seu diálogo com a sociedade, com a tecnologia, com a história e com as artes visuais. Finalmente, elencamos algumas obras dos artistas contemporâneos Nan Goldin, Rosângela Rennó e Sascha Pohflepp que evidenciam estas relações entre as artes visuais e os instantâneos do cotidiano familiar, seja através da imagem fotográfica, da materialidade da fotografia ou dos novos circuitos de circulação e novas práticas oriundas das tecnologias digitais.This work presents a discussion of relations between photography and contemporary art, where the artistic production dialogue with the photography in the family field. the photograph is assumed as a mediating process culturally constructed, taking into account its technological aspects, as well as their social uses, both dimensions considered preponderant for the production of meaning to these images. to establish these relationships through an interdisciplinary perspective, the text seeks to integrate views of areas of knowledge that contributed towards a more complex comprehension of photography in his dialogue with society, with the technology, with the history and the visual arts. finally, we list some works of contemporary artists nan goldin, rosangela rennó and sascha pohflepp that demonstrate these relationships between the visual arts and snapshots of daily family life, either through the photographic image, the materiality of the photograph or the new circuits and new practices coming of digital technologies.
5
Le, Febvre Emilie. "Tracing visual knowledge : the presence and value of images for Bedouin history and society in the Negev". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:d588d57f-2137-47b2-9ff2-3ac46799f6ad.
Texto completo da fonteResumo:
Based on eighteen months fieldwork with Bedouin of the Negev, this thesis explores the varied presence of images as photographs and digital copies for local historicity in order to achieve a greater understanding of representational politics in southern Israel. It emphasizes pictures' ability to transmute, circulate, and acquire value in various social settings in contrast to popular academic treatments, which primarily focus on photographs' iconography and visual history in the Middle East. To do so, the thesis details the biographies of a series of 'significant images' (c. 1906-2010) circulating in this society. It describes their photographic and digital graphic contents as floating referents with the capacity to be coded and recoded by people but also their presence as historical evidence that acquire value in different contexts. The thesis builds on the concept of visual economy as opposed to visual culture in order to landscape images' meanings, material and digital transformations, and their influence for the making of Bedouin history over the last century amid Orientalist, national, and local imaginings. It argues that Bedouin in the Negev possess diverse representational repertoires and utilise a variety of techniques to pursue historical capital. In particular, local representations of the past are selective and instrumental but increasingly reliant on archival mediums such as photographs. Although it may be obvious, anthropologists of the Middle East have yet to adequately account for these occurrences among peripheral peoples and not merely urbanites in the region. Research found that Bedouin spokespersons treat photographs and digital images as evidentiary documentation during self-presentations of historical knowledge in the Negev. As they travel between visual economies, however, images become malleable proof for local history projects alternating between the tribal past, Islamic heritage, and ethnohistory. In conclusion, the thesis develops two theoretical themes in anthropology and visual culture studies of the Middle East: the material and visual efficacy of images for local historicity, and complicating self-representations among Bedouin in the Negev.
6
Zambello, Marco Henrique 1975. "O declínio ferroviário paulista : despojo do trabalho social e abandono racional". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281272.
Texto completo da fonteResumo:
Orientador: Silvana Barbosa RubinoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-26T20:59:09Z (GMT). No. of bitstreams: 1 Zambello_MarcoHenrique_D.pdf: 4127486 bytes, checksum: ce33dd23d7e745aba23ab1f9a661a411 (MD5) Previous issue date: 2015
Resumo: A pesquisa estudou o declínio ferroviário paulista, cujo progresso se baseou na relação econômica da monocultura cafeeira. As ferrovias paulistas do interior dependeram da ferrovia inglesa SPR, que se desenvolveu tecnologicamente pela pressão dos cafeicultores paulistas. Estes, por sua vez, visavam o escoamento do café. A partir da década de 1950, houve o favorecimento ao transporte rodoviário, quando trilhos foram substituídos por asfaltos. As imagens produzidas no passado serviam para apresentar os investimentos aos acionistas das ferrovias, cuja natureza é seu desgaste progressivo. Porém, pelo seu caráter efêmero, as estradas de ferro logo foram classificadas como elemento de memória, mas pouco esforço voltou-se para a preservação do passado ferroviário. As obras do passado declinam simbolicamente, pois a memória não encontra resposta social, tendo em vista a característica naturalizada da ferrovia como um transporte do passado. Hoje, o abandono domina os cenários ferroviários das cidades do interior, que não recebeu os mesmos investimentos que as ferrovias concentradas na capital. O abandono resulta de um planejamento racional, de grupos que percebem o lucro na apropriação dos terrenos das antigas estradas de ferro. Como estratégia, a ferrovia sai da condição de transporte útil e necessário e passa a ser visto pela opinião pública (imprensa e governantes), como violento e que precisa ser removido das cidades. Os projetos voltados à memória ferroviária, raramente consideram o valor do trabalho presente nas obras, que resultaram da atividade caracterizada pelo amor do ferroviário em relação ao seu trabalho e à "família ferroviária". Esta dimensão aparece em alguns projetos de preservação na Itália, cujo principal investidor é a lucrativa ferrovia estatal
Abstract: The research studied the railroad downfall in São Paulo State, which progress was based on the economic relation with the coffee plantation. The São Paulo State country railroads depended on the British railroad SPR that was technically developed under the coffee farmers¿ pressure. Those farmers aimed the coffee flow. Since 1950s, the road transport has been favored and the rails were substituted by paved highways. Images produced in the past where used to present investments to the railroad shareholders, whose nature is its progressive wastage. However, due to its ephemeral character, the railroad were soon classified as memorial element, and little effort was directed towards the railroad past preservation. The past works decline symbolically, as the memories do not find social responses, considering the neutralized characterization of the railroad as transport of the past. Nowadays, abandonment dominates the railroad scape in the country cities, which have not received the same investments as the railroads located on the capital of the state. This abandonment results from a rational planning of groups that realized the large profit in the appropriation of old railroad lots. As a strategy, the railway leaves the condition of utile and necessary transport and starts to be seen by the public opinion (media and government) as something violent that needs to be removed from the cities. The projects that look in to the railroad memory rarely consider the value of the work within the structures that resulted from an activity characterized by the love of the railroad worker towards its work and the "railroad family". This dimension appears in some preservation projects in Italy, where the main investor is the profitable state railroad
Doutorado
Politica, Memoria e Cidade
Doutor em História
7
Coltelloni, Anne. "Le documentaire comme forme symbolique". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00812350.
Texto completo da fonteResumo:
L'étude sur le documentaire a suscité ces dernières années de nombreuses approches : historique, rhétorique, pragmatique, stylistique. Celles-ci posent la question de la réalité dans le film ou dans la photographie, problématique récurrente du documentaire. C'est à nouveau cette interrogation qui sera abordée dans cette recherche. La perspective envisagée a l'ambition de synthétiser toutes ces approches en remontant à l'origine de la photographie, au dix-neuvième siècle, et en faisant valoir sa spécificité d'image. Un parcours photographique est proposé montrant en quoi l'image photographique a pu bouleverser notre rapport à la réalité. Cette ambition synthétique a trouvé son fondement dans un concept original initié par le philosophe allemand Ernst Cassirer : la forme symbolique. Il s'agit d'une logique culturelle qui propose de se placer au cœur de nos réalités et d'analyser les principes qui les gouvernent. Le point d'ancrage d'une telle philosophie repose sur la culture comprise comme une réalité relative. Dans cette perspective, l'image photographique en tant que documentaire est considéré comme un lieu donnant à penser une réalité ? Comment ? Cette recherche nous amène à envisagé trois moments pour l'élaboration de cette forme symbolique particulière : 1) l'invention d'une image-monde que l'image photographique a suscité ; 2) la survivance des réalités contenues et transformées dans cette image-monde ; 3) la création d'un lieu de mémoire par la constitution d'un patrimoine photographique.
8
Leiva, Quijada Gonzalo. "Modernité et histoire de la photographie au Chili (1879-1920)". Paris, EHESS, 1997. http://www.theses.fr/1997EHESA033.
Texto completo da fonteResumo:
Cette etude propose une reflexion sur l'image photographique et son role a l'interieur d'une societe traditionelle. Au meme temps, cette recherche s'insere dans une reflexion sur les indices tres visibles de la quete de modernite au chili. Nous observons a travers les documents photographiques comment la vision culturelle se modifie en fonction des diverses reponses apportees a la question cruciale de la capacite du pays face a la modernite. Pour son prestige dans le marche national reduit, la photographie sera consideree comme un patrimoine de l'elite urbaine a santiago et a valparaiso. La photographie se transforme en une expression de reference culturelle qui modele les aspects de l'image personnelle a travers le portrait. Nous pouvons constater par le biais de l'image documentaire uneperception social et de moeurs. Par ailleurs, la carte postale nous montre la transformation du paysage et de la geographie. La photographie chilienne dans les annees (1879-1920) alimente une source inepuisable pour comprendre les systeme socioculturel dans un contexte de developpement et de construction d'un imaginaire identitaire de la nation.
9
Agbo, George Emeka. "Photography, facebook and virtualisation of resistance in Nigeria". University of the Western Cape, 2016. http://hdl.handle.net/11394/5465.
Texto completo da fonteResumo:
Philosophiae Doctor - PhDNigerian post-independence history (1960 to the present date) is steeped in socio-political upheavals. The majority of the citizens are frustrated with the injustice, inequality and fraudulent politics that pervade the country. The central argument of this thesis is that these conditions are critiqued through the photographic practices produced on Facebook. Through the circulation of photographs and the conversations around them on the social media platform, Nigerians demand social change. The sociality that underpins the visuality of social networking is explained by Ariella Azoulay's notion of "civil discourse," which theoretically organises the thrust of this thesis. The formulation suggests that the photograph is an outcome of the interaction among many individuals. It is a site of exchange, a process which I have argued to be reinforced by digital and internet technology. For five years, I have followed the visual social production on Facebook in the context of virtual participant observation, downloading photographs and the comments that go with them. A number of the photographs and the accompanying comments are analysed with semiotic tools to understand the key concerns of Nigerians. To explain how the agitation is presented, and the efforts invested in the production, I have reflected on the related questions of technological mediations and appropriations. A network of digital infrastructure conditions the creation and editing of the photographs and their dissemination and meaning-making processes on Facebook. Again, the Nigerian example demonstrates how state failure fuels activism, insurgency and counter-insurgency, all of which are actuated by digital photographic production. In this situation, the photographic image is burdened with the task to produce violence and to counter it. What ultimately emerges are complex relations among people, photography and technology. I conclude that the virtual movement presents possibilities for socio-political transformation in Nigeria. From the perspective of photography, this thesis contributes to the debates in social media activism and how it is shaping politics in Africa. It demonstrates the possibility of reading the tensions in an African postcolony through the connected digital, visual and social practices of the ordinary people. We are prompted to acknowledge the influence of digital infrastructure in the political use of the image.
10
Barberini, Marta. "The Impact of Humanitarian Photography on the Generation of Sympathy and on Donation Behavior". PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/18.
Texto completo da fonteResumo:
This paper presents findings of an exploratory study to evaluate the impact of humanitarian photography on the generation of sympathy and donation behavior. Considering the large amount of money spent each year by charity organizations on marketing strategies, it seems crucial to shed light on the persuasive impact of images in this context. The overarching purpose of this study was to discern what impact, if any, a number of features in a photograph have on sympathetic reactions. Specifically the author examined facial expressions (sad vs. happy), eye contact vs. no eye contact and total number of subjects portrayed. Findings supported the hypothesis that sad expressions in photos would have greater sympathetic responses than happy expressions. The author hypothesized that direct eye contact would be more persuasive than indirect eye contact, but the data supported the inverse result: indirect eye contact elicited more sympathy than direct gaze. The third hypothesis, that single subject images would be more persuasive than multiple subjects, was not supported. The author concluded that results draw attention to sympathy-generating attributes of charity appeals that have been overlooked.
11
Walton, Shireen Marion. "Camera Iranica : popular digital photography in/of Iran". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:7f6516bf-64c6-4551-b58c-08e42915183f.
Texto completo da fonteResumo:
This thesis explores the contemporary genre of popular digital photography, with a specific look at photographs taken in/of Iran. It focuses on the contemporary practice of 'photoblogging' or photography-based weblogging. Photoblogs are the result of the daily posting of digital photographs concerning everyday life in Iran on personal blogs specifically dedicated to photography. The title of the thesis, Camera Iranica, refers to the subject and scope of the study, as well as to its digital-ethnographic field site. I demarcate this as a conceptual and transnational cultural field, encompassing the multitude of places and spaces, on- and offline in which Iranians across the world engage in the practice of producing and viewing popular digital photography. Iranian photoblogs are shown to operate in a manner contingent upon a particular 'visual legacy' of contested cultural identity politics since the Islamic Revolution of 1979, propagated inside Iran and in 'the West'. The thesis traces the social, economic and political implications of developments in photography and digital technologies in Iran in light of this backdrop, and explores how and why Iranians in Iran and abroad are taking up popular digital photography for visual storytelling projects, with 'Iran' as their visual subject. Based on the study's empirical findings, I extrapolate theoretical arguments concerning historical and cultural understandings of digital photographs shown and seen in online environments, and propose innovative methodological strategies for digital-visual anthropologists to continue work in these fields.
12
Lemay, Yvon. "Peter Henry Emerson : essai sur l'histoire sociale de la photographie". Doctoral thesis, Université Laval, 1990. http://hdl.handle.net/20.500.11794/33506.
Texto completo da fonteResumo:
En étudiant le cas du photographe Peter Henry Emerson (1856-1936) à partir du discours tenu par les historiens de la photographie sur son principal traité (Naturalistic Photography) et sur son oeuvre, cette thèse vise non seulement à montrer la pertinence d'une approche sociale de 1'histoire de la photographie, mais à faire état de 1'importance des travaux du sociologue Pierre Bourdieu pour les fondements théoriques d'un tel type d'approche. En effet, des théories comme la division du domaine artistique à partir du dix-neuvième siècle en deux secteurs d'activités (champ de production restreinte et champ de grande production), la surdétermination des oeuvres d'art ainsi que 1'inégalité des compétences artistiques entre les couches sociales remettent en cause les rapports généralement posés entre la photographie à des fins artistiques et la société et entraînent une redéfinition de l'objet de 1'histoire sociale de la photographie. Redéfinition non sans conséquences sur 1'analyse des oeuvres et des écrits des photographes. En procédant dans 1'optique des travaux de Bourdieu, 1'analyse sociale des oeuvres photographiques de P.H. Emerson ne consiste plus à déterminer en quoi le contenu et la forme de ces oeuvres trahissent la vision d'un groupe en particulier. Elle vise, au contraire, à mettre en évidence comment ce n'est pas à 1'intérieur des oeuvres mais à 1'extérieur d'elles que l'impact du social se fait sentir, dans leurs liens avec l'univers de la production et 1'univers de la consommation, c'est-à-dire avec les autres types de production photographique et les conceptions esthétiques en présence parmi le public. En ce qui a trait à 1'analyse des écrits, 1'application des idées du sociologue français est non moins novatrice. Plus qu'une analyse de contenu cherchant à cerner 1'intentionnalité d'Emerson, et de là son idéologie, l'étude du traité Naturalistic Photography tend à établir comment les propos du photographe traduisent sa situation dans le milieu de la photographie. Autrement dit, 1'analyse de Naturalistic Photography est 1'occasion d'établir les principaux paramètres en vertu desquels s'élabore la pratique du photographe. Ainsi, c'est à une toute autre conception de 1'histoire sociale de la photographie que nous convient les travaux de Pierre Bour— dieu. Une toute autre conception qui permet, croyons-nous, à 1'historien d'assumer pleinement le rôle "critique" qui doit être le sien dans la société: mieux comprendre le passé afin d'aider à mieux agir sur le présent.Montréal Trigonix inc. 2018
13
dos, Anjos Afonso Manoela. "Language and place in the life of Brazilian women in London : writing life narratives through art practice". Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12000/.
Texto completo da fonteResumo:
Studies on Brazilians living in Britain show that, along with loneliness, unemployment and cost of living, the lack of proficiency in English is a key problem. However, there is little qualitative information about how the host language affects their daily lives. This interdisciplinary practice-based research asks how an art practice activated by experiences of displacement and dislocation in language can become a place of enunciation for decolonial selves. To this end, this research includes not only individual practices, but also collective activities carried out with a group of Brazilian women living in London, as a research focus. The endeavour to deal with English language has engendered writing processes in my visual work, which became a place for experimenting bilingual and fragmentary voices against the initial muteness in which I found myself on arrival in London. Using photography, printmaking, drawing, postcards, and artist’s books I have explored life-writing genres of diary, language memoir, and correspondence to raise an immigrant consciousness, explore accented voices and create practices for writing life individually and collectively. Assembling words and turning their meanings became strategies for expanding limited vocabularies. Once an impassable obstacle, the host language was transformed into a territory for exploring ways to know stories about language and write life narratives through art practice. This research is informed by humanist and feminist geographical approaches to space and place, postcolonial life writing, border thinking and a context of practice ranging from transnational art, accented cinema, visual poetry, conceptual art, and socially engaged art. It provides insights about English language in the lives of Brazilian women in London and offers a view on a practice in visual arts as place of enunciation for decolonial selves.
14
Ractliffe, Jo. "Nadir : a graphic interpretation of dispossession and aspects of conflict". Master's thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/17181.
Texto completo da fonteResumo:
Bibliography: pages 109-111.Dispossession, aspects of conflict and the breakdown of the relationship between people and their environment is the subject of this thesis. The body of work presented consists of twenty-four photographs and sixteen screen-printed off-set lithographs (referred to as the prints). The photographs are largely intended to introduce and contextualize the prints which act as the main body and conclusion of the thesis. In the series of prints I have manipulated certain photographic imagery in order to explore the ways in which meaning can shift with changes in context, and reveal associations not apparent in the original photographs. This book is divided into four sections: 1. Sources and context: This section contains a brief outline of the historical tradition of apocalyptic literature and its relevance to our times, as well as a discussion of some of the literary texts to which I have referred. All the visual source material for my prints was derived from my own photographs. As a result, I have not looked to other artist's works for reference, or for the development of my theme. Of great importance, however, were the texts I read during the course of my study, which included a wide and diverse range of literature and poetry. I have also looked to film as a source, including popular cinema such as George Miller's "Mad Max" series, as well as the more serious aspects of cinema, for example, the films of Francis Ford Coppola, Werner Herzog and Wim Wenders. While my prints do not necessarily fall within the mainstream of apocalyptic, they have in common with it, a particular attitude towards the present. It is the vision of imminent chaos and the desire for a return to a restored natural order that has informed my work. 2. My working methods and their implications: This section contains an explication of the processes involved in the making of the prints, and the manner in which these processes contributed to the meaning of the images. Also included is a discussion of the relationship between my photography and my printmaking. 3. Introduction to the work: This section introduces my theme. In my photographs I have documented those aspects of southern African urban and rural landscape which reveal evidence of the erosion of the natural environment, as well as the physical manifestations of displacement. In my prints, I have disintegrated, translated and recontextualised these images. While the theme of my work lies within the broad context of apocalyptic, it is the individual's conflicts and sense of displacement within that context that has been of particular interest to me. As the apocalypticist expressed the tensions and conflicts of his time in a language of symbols, so I have similarly presented a response to my environment. It is not my intention in this section to present an interpretation of my work, but rather to highlight those aspects important to an understanding of the motives I had in making the images. In addition, this book includes documentation of the photographs and prints, preparatory sketches and collages, reproductions of source photographs, and a selection of literary texts which informed the work.
15
Delpeux, Sophie. "Les formes de la disparition : art corporel et photographie : 1963-1983". Paris 1, 2004. http://www.theses.fr/2004PA010610.
Texto completo da fonteResumo:
De l'art corporel, il ne reste que des traces disséminées dans des fonds d'archives. Au sein de ces ensembles constitués par les artistes, la photographie est omniprésente. À la fois preuve palpable de ce qui a été et signe d'une continuité brisée, l'image d'action - dont cette étude analyse l'usage par Carolee Schneemann, les actionnistes viennois, Gina Pane, Michel Journiac, Valie Export et Chris Burden - matérialise une histoire en creux de ces pratiques et de leur temps.
16
Blomgren, Constance, e University of Lethbridge Faculty of Education. "Family photos : an exploration of significant exposures". Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 1999, 1999. http://hdl.handle.net/10133/93.
Texto completo da fonteResumo:
This hermeneutic inquiry into the significance of family photographs in our personal and public lives explores the relationship between the subject, the photographer and the viewer. The discussion uses the photgraphic oeuvres of the author's paternal grandfather and maternal grandmother as the basis of the exploration. Themes which appear include the following: the represented and projected images of a family within family photos; the significance of gender in the making of snapshots; and, the influence of history and religion upon families.
The discussion also includes the relationship between art and photography, art photography and the snapshot genre, the role of women within photography and snapshot photography as a method of visual narrative. The author delves into hermeneutics as an interpretative framework when viewing family photos. Semiotics, and Roland Barthes' Camera Lucida (1981) inform the discussion in addition to Jung's matriarchal consciousness as two alternative frameworks for interpreting family photographs. The study indicates that family photographs are visual artifacts which document and authenticate the lived experiences of the photographer and that they serve as a visual form of life writing. Data from the photographic industry indicates the heavy
involvment of women in family photographs which the study links to the marginalised role of the genre. To interpret the significance of the ubiquitous family snapshot involves the hermeneutic circle as the "text" of the photograph involves the inter-textuality of other previously encountered texts.xvii, 199 leaves : ill. ; 28 cm.
17
Acar, Sibel. "Intersections:architecture And Photography In Victorian Britain". Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611169/index.pdf.
Texto completo da fonteResumo:
Architecture and photography have always been closely interacted since the invention of photography in the late 1830s.While architecture has been captured as one of the main subjects of photography, photography has served architecture as a valuable tool of representation. Focusing on the frame defined by Victorian Britain, this study tries to capture intersecting histories between photography and architecture. Accordingly three intersections were defined: the first intersection corresponds to the simultaneous development of photography and architectural photographythe second to theinteraction between architectural photography and architectural theory/practice
and the third to the relation between architectural photography and architectural historiography.
18
Charpentier-Boude, Christine. "La photographie de groupe en classe comme palimpseste de l'institution scolaire : essai d'une approche sémiologique de ce document". Paris 10, 2006. http://www.theses.fr/2006PA100097.
Texto completo da fonteResumo:
La photographie de groupe en classe constitue à force d'être répétée, et cela depuis le milieu du XIXe siècle, une partie de la mémoire de l'école et de la société qu'elle représente. Elle semble accompagner le deuil d'une multitude d'histoires scolaires et en même temps conjurer ces disparitions. Cette image particulière, mise en scène d'une réalité institutionnelle capturée par l'appareil photographique, répétée au cours d'un rituel codifié, conservée ou non par les usagers, loin d'être monolithique et univoque, paraît être porteuse d'un ensemble de significations institutionnelles et intimes. Cette photographie pourrait ainsi dire des choses sur ce et ceux qu'elle montre, mais aussi sur ceux qui la montrent. Elle pourrait dire des choses sur ce qui se voit, mais aussi sur ceux qui l'ont prise ou provoquée, sur ceux qui la gardent et la regardent, présents ou non sur le cliché. Témoignant d'un monde extérieur à la famille mais ayant sa place dans l'album familial, elle paraît être une zone intermédiaire entre l'individu, le groupe familial et le monde de l'école. Ce travail aborde les différents contenus, manifestes et latents, mêlant l'implicite et l'explicite, qui émergent de cette image et qui laissent penser que ce médium est porteur d'un imaginaire collectif doublé d'un imaginaire individuel. Cette recherche propose donc de "prélever" cette mise en forme particulière de l'institution scolaire pour en faire émerger du sens, cela en utilisant ce document non pas comme une simple illustration, mais comme un objet d'étude pouvant servir autant de mémoire que d'outil d'analyse. Les premières parties présentent une analyse historique, iconique et socio-institutionnelle de ce document et abordent cette photographie comme pratique rituelle de l'institution scolaire. La dernière partie s'intéresse plus particulièrement à ce cliché comme archive intime et aux rapports qu'entretiennent avec elle les usagers de l'école et des lieux de formation. La conclusion s'articule autour de ce qui pourrait se définir comme une approche "mythographique" de cette image et présente les prolongements possibles de cette rechercheSince the middle of the nineteenth century the photograph of class at school has become, year after year, part and parcel of the memory of the school and the society it represents. It seems to accompany the mourning of the great number of school stories and, at the same time, to prevent these disappearances. This particular picture, the setting of an institutional reality caught by the camera eye and repeated in a ritualistic code – treasured or not by its owners – far from being monolithic or unequivocal, seems to be conveying a mixture of institutional and personal impressions. This photograph may reveal things about what and who it in showing as well as about those who show it. It might reveal things about what you can see but also about the persons who took it or are responsible for it, about those who have kept it and look at it, either they are or not on the snapshot. Witnessing a world outside the family but staying in the family album all the same, it seems to be a go-between, linking the individual, the family group and the school world. This work deals with the different aspects, more or less obvious, mixing implicit and explicit, witch are born from this picture and make you think that this medium carries within itself both a collective and a personal imagination. Therefore this research offers to capture this peculiar illustration of the school establishment in order to reveal its meaning by using this document not just as a mere illustration but as an object of study that can be considered as a memory as well as an analysis tool. The first parts of this study will introduce a historical, iconic and socio-institutional analysis of this document and will consider this photograph as a ritualistic rite of the school establishment. The last part will see the snapshot as a more intimate archive and will deal with the relationships existing between the photograph and the users of the school and the training centres. Finally, the conclusion will consist in a "mythographical" approach of the class photograph and will present you with the possible branching-outs of this research
19
Tiberi, Dominique. "La photographie et l'image de la Corse : 1839 1962". Caen, 1992. http://www.theses.fr/1992CAEN1117.
Texto completo da fonteResumo:
Cette etude retrace l'apparition de la photographie et son developpement dans la societe corse dont la specificite a determine l'orientation de l'objectif photographique. La tentative d'analyse du role du dispositif photographique dans l'image de la corse utilise des elements plus specifiques a l'ile comme la notion de corps primitif ou d'une portee plus generale comme ceux de l'ombre et du double tels qu'ils apparaissent dans les mythes. Par la mise en lumiere qu'elle opere la photographie se presente comme l'alliee objective du pouvoir domin ant et l'ennui de la loi de l'ile. Obeissant ainsi a des regles etrangeres a la loi du corps primitif, la dispositif photographique diffuse des nouvelles normes d'existence tout en decoupant minutieusement la societe corse. L'etude tente de montrer combien cet affrontement entre les deux lois en presence a determine l'exercice de la photographie. L'analyse a ete menee d'un point de vue historique, sociologique mais aussi psychanalytique, a travers l'etude d'un album realise par un amateur. Le dispositif photographique a ete ainsi etudie du moment de son apparition jusqu'a son role dans la construction de l'image contemporaine de la corse.
20
Hollowell, Steven. "Aspects of Northamptonshire inclosure : social and economic motives and movements". Thesis, University of Nottingham, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243662.
Texto completo da fonte
21
Stumberger, Rudolf. "Klassen-Bilder : sozialdokumentarische Fotografie 1900 - 1945 /". Konstanz : UVK-Verl.-Ges, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2961071&prov=M&dok_var=1&dok_ext=htm.
Texto completo da fonte
22
Baker, Sarah Lindsey, e Sarah Lindsey Baker. "Constructing the Contemporary Nostalgic Image". Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/621843.
Texto completo da fonteResumo:
This thesis focuses on the intrinsic relationship between nostalgia and vernacular photography, with specific attention to the networked vernacular photograph. Through an examination of early Kodak advertising and current in-phone digital editing and smartphone photography-sharing apps, this paper demonstrates the role of constructed aesthetic nostalgia in contemporary vernacular photography. This research argues that contemporary vernacular photography is a product of contemporary nostalgia, as evidenced through photographs born digital and shared publicly via social media sites such as Instagram and Snapchat, among others.
23
Scheffknecht, Sandra Art College of Fine Arts UNSW. "Doubledeath--the very presence of the absent". Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43304.
Texto completo da fonteResumo:
The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.
24
Wong, Wilson Heitung. "The cultural politics of foodie criticism in Hong Kong : a case study of foodies on Instagram". HKBU Institutional Repository, 2019. https://repository.hkbu.edu.hk/etd_oa/704.
Texto completo da fonteResumo:
This thesis investigates the cultural politics of taste in contemporary food media of Hong Kong through the lens of foodie stylistics on Instagram. By bearing on the semiotic theory and analysis by Roland Barthes, this research seeks to closely examine the mythmaking of taste in foodie criticism--the food and restaurant review written by foodies on social media platform. The theory will be used to spell out the layered meaning of foodie criticism: a linguistic depiction of food, visual stylistic of writing about taste, tactics of gaining voice of authority by foodie critics and their intention of writing. Considering taste as a cultural and social construct, the present research examines the pivotal role of foodie critics as mythmakers that render and stylize taste on Instagram, which mythologizes the intention of writing and complicates how voice of authority can be accumulated and how monopolized power of food media corporate can be further expanded invisibly. Through semiotic analysis, how taste is represented and informed by the mythmaker linguistically, how food trends are set stylistically to attract and affect the audience, as well as how attraction accumulates the voice of authority and engenders problems of self-branding, commercialization and collusion will become apparent. Finally, the findings of this pilot research of Hong Kong foodies will contribute to the understanding of cultural politics of contemporary food criticism media in the social media era.
25
Potter, Christopher Thomas. "An exploration of social and cultural aspects of motorcycling during the interwar period". Thesis, Northumbria University, 2007. http://nrl.northumbria.ac.uk/2509/.
Texto completo da fonteResumo:
This thesis covers social and cultural aspects of the motorcycling movement during the interwar period of 1919 to 1939. Using contemporary records of both written and oral nature, a diverse set of themes are explored, beginning with the origins of the motorcycle enthusiasm, from its invention towards the end of the nineteenth century, to the dawn of the twenties, when for a while it held the dominant position in personal motorised transport, until through processes of economics such as the trickle down theory of consumer goods ownership, dominance was transferred to the motorcar. Next, the phenomenon of motorcycling clubs, their composition, practices and distribution, is covered in detail. Turning towards gender issues, the place women held within the movement is discussed. Despite a persistent element of male dominance within the pastime, some women held a prominent position, many achieving fame and acclaim both at a personal and national level. In the next chapter, legislative processes are covered, following governmental and police force involvement in controlling the increasing numbers of motorists of all types. Here, a special study of magistrates' records for the Darlington area provides a snapshot, which complements the national trends. Social class issues regarding the choice of motorized transport are addressed in the next chapter, allowing for a discussion of the wider, national picture and concentrating upon an analysis of the social structure of motorcyclists in the Darlington area, derived from records of registrations of 1920 machines. The motorcycle's place in art and related cultural themes is discussed in chapter six, allowing for analysis of artistic genre such as Futurism, Bauhaus, and other forms of modernist interpretation. Literary links with motorcycling, either through enthusiast journals or mainstream literature is explored, together with film and music, to provide an overview of motorcycling in these themes. Overall, the thesis discusses a wide range of hitherto unexplored themes relating to motorcycling during this era, and attempts to shed new light upon an important set of elements within social and cultural history.
26
Raiford, Leigh. "'Imprisoned in a luminous glare' : history, memory, and the photography of twentieth-century African American social movements". Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Kerr_Diss_03.
Texto completo da fonte
27
Laughton, Jane. "Aspects of the social and economic history of late medieval Chester, 1350-c.1500". Thesis, University of Cambridge, 1993. https://www.repository.cam.ac.uk/handle/1810/273128.
Texto completo da fonte
28
Geyer, Xanthe Amanda. "Correction, addition and deletion : memory and its function in creating "visual narratives" (and identity) in photographic art". Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002198.
Texto completo da fonteResumo:
With this dissertation I propose to investigate critical theories dealing with memory and its role in photography. The function of memory is a well discussed and analysed topic within the ambit of historical research. Drawing from theoretical texts by critical theorists, namely, Roland Barthes, Annette Kuhn and Marianne Hirsch, I will critically address the function of memory in the understanding of photography; particularly how photographs have the ability to construct our identity in terms of history and narrative. I will study the content of memory in relation to visual images, focusing on what is remembered, what is suppressed, and finally, what is transformed when viewing an image. By doing so, I will consider whether or not still photographs have the ability to construct the past in a narrative form that is intrinsic to its medium. This consideration will be undertaken with specific reference to the works of contemporary South African artist Lien Botha. Special attention will be directed to her series of work entitled Amendment (2006), a series which permits me in turn, to deal with issues pertaining to memory and “visual narrative” which I have explored in my own professional art practice namely, Memory Boxes, Back Stories, Faces of You and Me, Memories Re-layered and Ghostly Remnants.
29
Peacock, Dave. "Morals, rituals, and gender : aspects of social relations in the Diocese of Norwich, 1660-1703". Thesis, University of York, 1996. http://etheses.whiterose.ac.uk/2452/.
Texto completo da fonte
30
Davies, J. D. "The seagoing personnel of the navy, 1660-1689 : Political, religious and social aspects". Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375859.
Texto completo da fonte
31
Nicholls, Paul. "The social expectations of Anglican clergy in England and Australia, 1850-1910". Thesis, University of Oxford, 1988. http://ora.ox.ac.uk/objects/uuid:52828db5-d273-41db-8516-c873e1e7a91a.
Texto completo da fonteResumo:
In the early nineteenth century, the ideal type of Anglican parish clergyman was a member of a gentlemanly profession. Although he had few formal duties, he exercised a benevolent influence in a small, deferential community. His liberal education, independent income and ample leisure enabled him to pursue scholarly hobbies. In every English village, he was a light of civilization. The parson was spiritual half-brother of the squire, and the Church as a whole was closely identified with the landed classes in the social rank, governing role (the magistracy) and political sympathies of the parochial clergy. Urbanisation was the main force that largely destroyed the authenticity of this ideal. As society became horizontally divided, the power of locality dwindled. The Church's opponents - sceptics, Dissenters and organised labour - gained confidence. Rival authorities (to the pulpit) overwhelmingly established themselves in popular favour - especially the mass circulating press. The franchise was extended to the working classes, or at least to the aristocracy of labour with whom the Church of England had rarely felt easy. Finally, two of the props of the old ideal were knocked away - the prosperity of the agricultural sector, and the acceptance of the clergyman's calling as a learned profession. In Australia, there were similar problems for the Anglican minister, although most were in a more intense form. A lack of endowment, the prevailing democratic and anti-clerical sentiment in much of the political debate, and the high degree of geographical and social mobility characteristic of much of the colonial population, made the problems of the Church and of her parochial ministers appear overwhelming. The result was the development of a form of careerism in the clerical order that seemed to some censorious contemporaries to have been not merely improper but quite destructive of the ideal of the parish priest, an ideal which was still upheld despite its manifest inappropriateness.
32
Brown, Robert Bruce. "Holy war as an instrument of theocratic and social ideology in Judaic, Christian, and Islamic history". CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1428.
Texto completo da fonte
33
Damron, Jason Gary. "Transgressing Sexuality: An Interdisciplinary Study of Economic History, Anthropology, and Queer Theory". PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/622.
Texto completo da fonteResumo:
This interdisciplinary thesis examines the concept of sexuality through lenses provided by economic history, anthropology, and queer theory. A close reading reveals historical parallels from the late 1800s between concepts of a desiring, utility-maximizing economic subject on the one hand, and a desiring, carnally decisive sexological subject on the other. Social constructionists have persuasively argued that social and economic elites deploy the discourse of sexuality as a technique of discipline and social control in class- and gender-based struggles. Although prior scholarship discusses how contemporary ideas of sexuality reflect this origin, many anthropologists and queer theorists continue to use "sexuality" uncritically when crafting local, material accounts of sex, pleasure, affection, intimacy, and human agency. In this thesis, I show that other economic, political, and intellectual pathways emerge when sexuality is deliberately dis-ordered. I argued that contemporary research aspires to formulate new ideas about bodies and pleasures. It fails to do so adequately when relying on sexuality as a master narrative.
34
Stacchio, Lorenzo. "Detecting social patterns within 20th century documentary photos: a deep learning based approach". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21552/.
Texto completo da fonteResumo:
The job of a historian is to understand what happened in the past, resorting in many cases to written documents as a firsthand source of information.
Text, however, does not amount to the only source of knowledge. Pictorial representations, in fact, have also accompanied the main events of the historical timeline. In particular, the opportunity of visually representing circumstances has bloomed since the invention of photography, with the possibility of capturing in real-time the occurrence of a specific events.
Thanks to the widespread use of digital technologies (e.g. smartphones and digital cameras), networking capabilities and consequent availability of multimedia content, the academic and industrial research communities have developed artificial intelligence (AI) paradigms with the aim of inferring, transferring and creating new layers of information from images, videos, etc.
Now, while AI communities are devoting much of their attention to analyze digital images, from an historical research standpoint more interesting results may be obtained analyzing analog images representing the pre-digital era.
Within the aforementioned scenario, the aim of this work is to analyze a collection of analog documentary photographs, building upon state-of-the-art deep learning techniques.
In particular, the analysis carried out in this thesis aims at producing two following results: (a) produce the date of an image, and, (b) recognizing its background socio-cultural context,as defined by a group of historical-sociological researchers.
Given these premises, the contribution of this work amounts to: (i) the introduction of an historical dataset including images of “Family Album” among all the twentieth century, (ii) the introduction of a new classification task regarding the identification of the socio-cultural context of an image, (iii) the exploitation of different deep learning architectures to perform the image dating and the image socio-cultural context classification.
35
Borsay, Anne. "Patrons and governors : aspects of the social history of the Bath Infirmary, c.1739-1830". Thesis, University of Wales Trinity Saint David, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683159.
Texto completo da fonte
36
Quick, Abdullah Hakim. "Aspects of Islamic social intellectual history in Hausaland, 'Uthman Ibn Fudi, 1774-1804 C.E". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1995. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ28150.pdf.
Texto completo da fonte
37
Musemwa, Muchaparara. "Aspects of the social and political history of Langa Township, Cape Town, 1927-1948". Master's thesis, University of Cape Town, 1993. http://hdl.handle.net/11427/21707.
Texto completo da fonteResumo:
Bibliography: pages 198-213.This study focuses on the social and political history of Africans in Langa Township from 1927 to 1948. Langa conveniently and justifiably serves as a good case study of the urban African experience because it is the area in Greater Cape Town, during this period, where there was the largest concentration of a relatively organised, stabilised and permanent African working class community. It is also the oldest township with the deepest roots and longest evolution in Cape Town. Langa also makes an interesting area of study because the politics surrounding its evolution as an urban African segregated residential township presents it not only as an arena of social conflict between the ruler and the ruled, but also stands out as a veritable testimony of the African struggle to become an integral part of the city. The thesis traces what, initially, began as an "externalised" struggle by Africans against the forced removals from the city and Ndabeni Location to Langa and attempts to establish the continuities of this struggle within the township - i.e."internalised" struggle. African popular struggles in Langa predominantly centred around such issues as rents, railway fares, living conditions, restrictions on beer brewing and trading activities, the demand for direct municipal representation and the freedom of movement. The study explores the nature of the relationship that subsisted between the Langa residents and the Cape Town City Council and the internal social and political relations in the Langa community, paying particular attention to conflicting tendencies and the forms of resolution implemented. The thesis aims to highlight the fact that protest and resistance were the only weapons that empowered the Langa residents to fight against unilateral unpopular decisions by the local authority or central government. Flowing from these findings is an attempt to discover how the lived experiences of the Langa people, their frustrations, disillusionment, crises of expectations, translated into political consciousness and how these help us to explain the people's role in nationalist politics. Alternatively, this will help us to explain how political parties, the African National Congress (ANC), the Communist Party of South Africa (CPS A), and the National Liberation League (NLL) exploited the crises in civic matters to enhance or strengthen their support bases and with what results.
38
Vallie, Zubeida. "Social dynamics of a resistance photographer in the 1980s in Cape Town". Thesis, Cape Peninsula University of Technology, 2014. http://hdl.handle.net/20.500.11838/1327.
Texto completo da fonteResumo:
Thesis submitted in fulfilment of the requirements for the degree
Master of Technology: Design
in the Faculty of Informatics and Design
at the Cape Peninsula University of Technology
2014This study seeks to contribute to the field of documentary photography by looking at a resistance photographer who documented events during the liberation struggle against Apartheid in the 1980s in Cape Town, South Africa. The research explores the richness, depth and complexity of the reflective knowledge of the phenomenon and develops a sense of understanding of the meanings of the circumstances and social context of the researcher. It considers the thoughts, observations as well as reflections regarding the meanings and interpretations of experience as a photographer in the 1980s. The perspective of the research is to understand through the photographer’s memory the phenomenon of interest in the exhibition Martyrs, Saints & Sell-Outs and in so doing argue for a consideration of the lives of those who not only lived during Apartheid but continue to do so after its demise. In addition to thinking about questions of photographic representation, the study also addresses ideas of space, and unarticulated injuries and trauma. The photograph is well suited as a medium through which one may think about these difficult questions, for in its very inception, the medium is one of simultaneous absence and presence. The study concludes with recommendations for future investigation in the documentary photography narrative in Cape Town, South Africa.
39
Davis, August Jordan. "Bringing the war back home : the anti-war photomontages of Martha Rosler (1967-2008)". Thesis, University of Liverpool, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548761.
Texto completo da fonteResumo:
This doctoral thesis investigates the question 'How and why does Martha Rosier, artist and activist, bring the wars of Vietnam and Iraq back home time and again?' The aims of the investigation are to consider the two series of Martha Rosier's photomontages entitled "Bringing the War Home: House Beautiful" (1967 -1972) and "Bringing the War Home: House Beautiful, New Series" (2004 - 2008). The aims of such a consideration include: address of the photomontages themselves asthey relate to Rosier's particular development of a critical and activist photomontage practice (as initially developed in her feminist photomontage series "Beauty Knows No Pain: Body Beautiful" (1965 - 1974)); examination of original source images appropriated by Rosier for the making of her works, citing their original locations (work not undertaken previously by other scholars) and the events, scenes and valences thereof within these original photographs; theoretical propositions for how one can read the critical narratives and operative critiques embodied by Rosier's photomontages; and a consideration of the meta-commentary instantiated by Rosier's renewal of the anti-war photomontage series in light of 'the war on terror'. Results achieved This thesis has achieved a comprehensive overview of Martha Rosier's project as both artist and activist to bring the American wars in Vietnam and Iraq back home to the USas a work of anti-war activism, provoking a conversation with the population whose representatives in government are pursuing these foreign adventures in their names. The thesis achieves propositional readings ofthe theoretical workings of Rosier's images, alongside offering a historical contextualisation of both Rosier's extra-artistic activism and of the events depicted in her works which have not been recorded by other scholars. The researching and recording of original source material appropriated by Rosier in the making of these photomontages, again not recorded by other art historians elsewhere, along with the relevance of the selected source images, has been achieved within this thesis. Furthermore, this thesis has succeeded in postulating original theoretical appreciations of not only Rosier's photomontages in both eras ofthe series, but also ofthe nature of and motivation for her very act of renewal in the second stage ofthe series "Bringing the War Home". This is achieved specifically through my theoretical reading of the series as meta-commentary on the revision isms of American history and present foreign policy decision-making, presented through my concept of the 'reboot', which is developed in sympathetic concert with Rosier's own emphasis on popular culture / mass-media imagery asthe medium for presenting her critique within the series.
40
Devon, Terrence J. (Terrence John). "Language, media, and the concept of a machine : toward a unified theory of communication in history". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39778.
Texto completo da fonteResumo:
This thesis is focused upon the development of the computer as a communication medium in history. To accomplish this, the computer is understood as constructed by language and technology where these are in turn grounded upon their roles as forms of cultural mediation. As methodology is of paramount importance, the digital medium is heuristically employed to discuss the epistemic and phenomenological significance of communications media. The more general inference therefore concerns the role of socially constructed media in the fabric of cultural development. In addressing this concern, the paper finds that communications media stand as the repositories of knowledge in the form of artificial memory and figurative technique. The computer then, as a medium in history, may arguably be declared as a paradigmatic instantiation of this role.
41
Wells, Camille. "Social and economic aspects of eighteenth-century housing on the northern neck of Virginia". W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539623857.
Texto completo da fonteResumo:
This study is an attempt to discern what eighteenth-century houses--their forms, dimensions, internal organization, and external settings--have to contribute to scholarly understanding of colonial Virginia's society, economy, and culture.;Historic Virginia houses usually were built more recently than traditional scholars and popular writers have supposed, and standing eighteenth-century houses are, almost without exception, far larger and finer than the dwellings most colonial Virginians inhabited. Yet even lightly constructed and shabbily finished houses stood at the center of a complex of buildings where most of the planter's household and agricultural work was performed. Thus eighteenth-century Virginia houses were more mundane and unpretentious yet more symbolically and functionally dominant components of the landscape than surviving houses and their isolated rural sites can suggest.;This dissertation employs documentary, architectural, and archaeological evidence to address three questions. What can a close reading of written sources convey about the character and context of houses in eighteenth-century Virginia? What can a close inspection of surviving houses, their archaeological remains, and their associated documentary histories convey about the circumstances of their construction and use, the significance of their form and presentation? Finally, what was the economic background and the social significance of a pretentious Virginia house which was built, accoutred, and inhabited during a time and in a place where such structures were exceedingly rare?
42
Walters, Handri. "Religion, intolerance, and social identity". Thesis, Stellenbosch : Stellenbosch University, 2010. http://hdl.handle.net/10019.1/4175.
Texto completo da fonteResumo:
Thesis (MA (Political Science))--Stellenbosch University, 2009.ENGLISH ABSTRACT: Over the past few decades the secular world has witnessed an increasing assault, specifically from the monotheistic religious fundamentalist community, on their beliefs and values. The undeniable intolerance shown by the religious fundamentalist community has often translated into violent terrorist attacks against the secular world. The fact that religious beings can resort to such atrocious acts of violence has certainly baffled many onlookers. It surely comes as no surprise that religious fundamentalism is generally viewed as a ''hard-to-understand‟ phenomenon. This literature review will describe the ''hard-to-understand‟ phenomenon that is religious fundamentalism by employing social identity theory. The social identity of religious fundamentalists is generally derived from sacred texts and what they consider to be absolute truths. These presumed absolute truths not only provide ample opportunity for the development of the ''us‟/''them‟ duality, but also provide a platform for an intense intolerance of the ''other‟, also referred to as the out-group. Of course, the ''us‟/''them‟ duality can be created on many social dimensions, but religion has proven to bring quite an extensive, even murderous, intolerance to in- and out-group characterizations. The ever increasing actions of religious fundamentalist groups over the past few decades have certainly illustrated this point with some conviction. The importance of social identity has been recognised in many major traditions of the social sciences, not excluding political science. Social identity forms the basis of any group‟s actions or reactions. Therefore, its significance stretches far beyond simply providing an identity to a social group. Social identity also acts as a preamble to how a social group, in this case religious fundamentalists, chooses to deal with invidious comparisons. By employing social identity in this particular way we can go beyond investigating how religious fundamentalists act and react to the point of understanding why they act and react the way they do. In this study it was found that although a number of options to deal with invidious comparisons are available to social groups, only a few of these options are likely to be pursued by religious fundamentalists in order to remain a relevant and competitive social group within the social hierarchy. This approach will provide important insights into a formerly ''hard-to-understand‟ phenomenon namely religious fundamentalism.
AFRIKAANSE OPSOMMING: Oor die laaste paar dekades het die sekulêre wêreld 'n toenemende aanslag op sy oortuigings en waardes waargeneem, spesifiek vanaf die monoteïstiese godsdienstige fundamentalistiese gemeenskap. Die onloënbare onverdraagsaamheid wat deur hierdie godsdienstige fundamentalistiese gemeenskap getoon word ontaard dikwels in geweldadige terroriste aanvalle op die sekulêre wêreld. Die feit dat godsdienstige individue hulself begwewe tot sulke wreedaaardige dade van geweld het verseker baie toeskouers verydel. Dis is sekerlik dan nie 'n verrassing dat godsdienstige fundamentalisme gesien word as 'n ''moelik-om-te-begryp‟ fenomeen nie. Hierdie literatuur oorsig sal die ''moelik-om-te-begryp‟ fenomeen wat godsdienstige fundamentalisme is beskryf deur gebruik te maak van die sosiale identiteits teorie. Die sosiale identiteit van godsdienstige fundamentaliste spruit oor die algemeen uit heilige teks en absolute waarhede. Hierdie absolute waarhede bied nie slegs ruim geleenthede vir die ontwikkeling van die ''ons‟/''hulle‟ dualiteit nie, maar bied ook 'n platform vir 'n intense onverdraagsaamheid van die 'ander‟, wat ook verwys word na as die buite-groep. Natuurlik kan die ''ons‟/''hulle‟ dualiteit op grond van baie ander sosiale dimensies ontwikkel word, maar godsdiens het telke male al gedemonstreer dat dit 'n omvattende, selfs moordadige, onverdraagsaamheid na binne- en buite-groep karakterisering bring. Die al ewige toenemende aksies van godsdienstige fundamentalistiese groepe oor die laaste paar dekades illustreer sekerlik hierdie punt met oortuiging. Die belangrikheid van sosiale identiteit word erken deur verskeie tradisies van die sosiale wetenskappe en politieke wetenskap word nie hier uitgesluit nie. Sosiale identiteit vorm die basis van enige groep se aksies en reaksies. Vir hierdie rede strek die betekenisvoheid ver verby die feit dat slegs 'n identiteit aan 'n sosiale groep verskaf word. Sosiale identiteit tree op as 'n voorrede vir die manier waarop 'n sosiale groep, in ons geval godsdienstige fundamentaliste, verkies om onbenydenswaardige vergelykings te hanteer. Deur sosiale identiteit op hierdie besondere manier aan te spreek kan ons verder gaan as om slegs ondersoek in te stel in hoe godsdienstige fundamentaliste optree en reageer tot die punt waar ons kan verstaan hoekom hulle optree en reageer op hierdie spesifieke manier. In hierdie studie is gevind dat alhoewel daar 'n aantal opsies beskikbaar is vir sosiale groepe om onbenydenswaardige vergelykings te hanteer, is daar slegs 'n paar van hierdie opsies wat mees waarskynlik nagestreef sal word deur godsdienstige fundamentaliste ten 'n einde 'n relevante en kompeterende sosiale groep binne die sosial hïerargie te wees. Hierdie benadering sal belangrike insigte bring tot die voormalige 'moeilik-om-te-begryp‟ fenomeen genaamd godsdienstige fundamentalisme.
43
MacArthur, E. Mairi. "The Island of Iona : aspects of its social and economic history from 1750 to 1914". Thesis, University of Edinburgh, 1989. http://hdl.handle.net/1842/19067.
Texto completo da fonteResumo:
This study centres on the inhabitants of the Hebridean island of Iona from the mid-eighteenth century until the First World War. It examines the events and influences which, over this period, affected the people's economy, society and way of life. The first Chapter sets Iona in its geographical and historical context and outlines the reasons for undertaking the research. It then assesses the wide range of sources used, both documentary and oral, and describes the methodology by which these have been gathered together and integrated. Chapters 2 to 17 trace the history of the islanders chronologically, starting with the profound shift in landlord/tenant relationships in the Highlands, already underway on the Argyll Estates from the 1730s and which accelerated everywhere after 1745. The specific attempts by the fifth Duke of Argyll to broaden the economic base of his Estate are detailed, as are the agrarian reforms he initiated in the late eighteenth century. By 1802 Iona's land was divided into individual lots, or crofts, marking an end to the former communal system of agriculture. The study goes on to look at how rents were met for the holdings, at the growing impact of visitors and at the steady rise in population to a peak by the late 1830s. The effects of the 1846 potato failure are considered at length as the ensuing decade proved to be a turning-point, both demographically and economically. Emigration reduced Iona's population dramatically and the amalgamation of crofts into larger units began. A combination of higher rents, lower self-sufficiency and decline in sources of cash income produced a financial strain, and a tension between tenants and the Estate, that did not ease until the Napier Commission of 1883 and the subsequent adjustment of rents by the Crofters' Commission of 1890. The educational and religious life of the island over the period is also documented, along with the role played within the community by schoolmaster and minister. The former first appears when a school was set up in 1774. A resident minister dates from the building of a Parish Church and Manse in 1828. A zeal for self-education, an active interest in current affairs and a lively recreational life are also commented upon as central aspects of parish life. A core of family names is identified early in the study, providing one of its basic unifying threads. Family history has been used throughout, as a tool for elucidating information, e.g. on emigration, and to illustrate the close-knit nature of the society. Attention is paid at several points to other factors which underlined the cohesion and mutual support of the community, such as traditional beliefs, communal working practices and occasions for song, dance and storytelling. The concluding Chapter highlights those points where, during this period of radical transformation throughout the highlands, the experience of Iona's population parallels that of other areas and where it differs. The most critical times for the island are noted and the lines of continuity, as reflected in kinship links, custom and culture, are summarised and their significance reinforced.
44
Futterer, Patricia. "Cultural studies of science : skinning bodies in Western medicine". Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23332.
Texto completo da fonteResumo:
This thesis explores the cultural implications underlying the medical practice of cutting human flesh. The examination focuses, in particular, on the function of representational technologies--from anatomy sketches to computer imaging--in the scientific understanding of the body in the West. By foregrounding the technologies of representation which inform and have directed a history of surgery, it is hoped that the cultural aspects of modern medicine will be made apparent. This thesis argues that while science benefitted from art to construct its image of 'the' body, it has had to rid itself of art in order to justify its empirical claims. The study concludes with a discussion of the work of the French performance artist Orlan who uses plastic surgery in a performative setting to deconstruct these very claims.
45
Wong, Lai-man David, e 黃禮文. "The contemporary history of press commentaries on the English languagein Hong Kong (1 January 1997 to 30 June 1997)". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31951545.
Texto completo da fonte
46
Fitzpatrick, Andrea D. "Approaching the dying and the dead : an analysis of contemporary, lens-based artworks and the potential for ethical intersubjectivity". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85906.
Texto completo da fonteResumo:
Photographic, film and video representations of dying and dead subjects bring to light delicate balancing acts of agency involving representational perspective. In this thesis, I examine contemporary, lens-based artworks by Sarah Charlesworth, Eric Fischl (whose sculptural medium is an exception), Alejandro Gonzalez Innaritu, Gillian Wearing, Andres Serrano, Nan Goldin, AA Bronson and Jorge Zontal, as well as works by photojournalists Richard Drew and Theresa Frare, to show how they effectively convey facets of identity to dying and dead subjects. The voice, visuality, touch and embodiment (in particular, the body's weight and its materiality) are considered dimensions of intersubjectivity in order to explore how they foster access to the dying or the dead. My hypothesis is that, despite the avenues of intersubjective agency that appear to be foreclosed to the dying and the dead, the artists negotiate the following, significant challenges: how to bear witness to suffering without enacting visual mastery; how to grant a voice to or engage in dialogue with a silenced subject; how to touch the other without inflicting injury. Through the artists' divergent representational paradigms, the terms of intersubjectivity will be shown to equally involve the potential for reverence as well as for representational violence and it is upon this duality that the ethical concern hinges. The degrees of photographic transparency invoked by the artists alter the emergence of identity and the extent to which it reflects the perspective of the dying and the dead or, alternatively, becomes a framework of distortion. In terms of subject matter, the causes of death to the subjects represented, all of which are non-fictional, are AIDS-related illness, falling from buildings and violence (sometimes self-inflicted). Conceptually, I will be relying upon the phenomenological models of Maurice Merleau-Ponty, the photographic theories of Roland Barthes, the feminist met
47
Josephy, Svea Valeska. "The development of a critical practice in post-apartheid South African photography". Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52508.
Texto completo da fonteResumo:
Thesis (MA)--Stellenbosch University, 2001.ENGLISH ABSTRACT: South African photography in the 20th century was dominated by the documentary genre. This genre has its roots in 19th century Modernist and colonialist belief in the accuracy of the camera as a tool of representation, and faith in the camera's objectivity and ability to present empirical evidence and 'truth'. These positivist notions were carried into South African documentary practice during the apartheid era. Apartheid-era South African documentary photography was particularly focused on exposing the socio-political ills of apartheid in order to gain support for the liberation movement, both locally and abroad. It was serious and didactic in its purpose and did not allow for creative responses to the medium, as the camera was seen as a 'weapon' of the struggle. The 1990s saw the beginning of the emergence of a liberated South Africa. The documentary imperative to record and expose apartheid practices was now increasingly redundant. Photographers, particularly after the elections, were faced with a 'crisis' of sorts in documentary as the main focus of their subject had been removed. The upshot of this was that documentary photographers had to find new subjects, which they had to approach in different ways. The arrival of Postmodernism in South Africa coincided with the demise of apartheid. It had in essence been kept at bay by what seemed to be the more pressing issues of the struggle. Postmodern art and its theoretical base, post-structuralism, argued for an erosion of the previously fixed concepts of genre, and allowed for the mixing of the previously separate categories of 'documentary' and 'art'. There was a radical questioning of previously fixed constructs of race, identity, class and gender. The erosion of the documentary imperative to record allowed for more creative responses to the medium than ever before. Artists were able to experiment technically, with video, multi-media, digital photography, historical processes, colour, composite work and interactive pieces. In this thesis I explore the above-mentioned shift and situate my practical work within this contemporary paradigm.
AFRIKAANSE OPSOMMING: Op die gebied van fotografie is die toneel in Suid-Afrika in die 20ste eeu deur die dokumentêre genre oorheers. Die genre het sy oorsprong in 'n Modernistiese en kolonialistiese, 19de-eeuse siening, naamlik dat die kamera 'n objektiewe en akkurate voorstellingsmiddel is waarmee empiriese bewyse ingesamel en die "waarheid" uitgebeeld kan word. Hierdie positiwistiese uitkyk is tydens die apartheidsjare op die dokumentêre praktyk in Suid-Afrika oorgedra. Tydens hierdie era was dokumentêre fotografie daarop gemik om die sosiopolitieke euwels van Suid-Afrika onder apartheid bloot te lê, ten einde sowel binnelands as buitelands vir die bevrydingsbewegings steun te werf Met hierdie gewigtige en didaktiese doel voor oë, was daar min ruimte vir 'n kreatiewe hantering van die medium, aangesien die kamera as 'n "wapen" in die stryd teen apartheid gesien is. Die 1990's het die begin van Suid-Afrika se bevryding ingelui. Die dokumentêre imperatief om apartheidsdade op rekord te stel en aan die groot klok te hang, het vervaag. Fotograwe het 'n soort "krisis" in die gesig gestaar, veral na die verkiesing, want die onderwerp van hulle fokus het verdwyn. Die resultaat was dat dokumentêre fotograwe nuwe temas moes vind, wat hulle vanuit 'n ander oogpunt moes benader. In Suid-Afrika het die koms van Postmodernisme met die ondergang van apartheid saamgeval. Voorheen is dit in wese oorskadu deur oënskynlik belangriker kwessies rondom die "struggle". Postmoderne kuns en die teoretiese grondslag daarvan, naamlik post-strukturalisme, bepleit 'n beweging weg van die vaste begrip van genre wat voorheen gegeld het. Hiervolgens raak 'n vermenging van die voorheen afsonderlike kategorieë 'dokumentêr' en 'kuns' moontlik. Dit bring ook 'n radikale bevraagtekening mee van die konstrukte ras, identiteit, klas en geslag, wat voorheen as vaste indelings beskou is. Die verflouing van die dokumentêre imperatief om dinge op rekord te stel, maak dit moontlik om op 'n meer kreatiewe wyse as ooit tevore met die medium om te gaan. Kunstenaars kan nou met die tegniese sy van fotografie eksperimenteer: video, multimedia, digitale fotografie, historiese prosesse, kleur, saamgestelde werke en interaktiewe stukke. In hierdie tesis kyk ek op verkennende wyse na die veranderings waarna hierbo verwys word, en situeer ek my praktiese werk binne hierdie kontemporêre paradigma.
48
Wilson, John Campbell. "A history of the UK renewable energy programme, 1974-88 : some social, political, and economic aspects". Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3121/.
Texto completo da fonteResumo:
Following the global oil crisis of October 1973 the UK government funded and administered a range of R&D programmes in renewable energy. Despite the discoveries of large deposits of oil and gas in the North Sea during the late 1960s and continuing faith in nuclear energy the government was keen to explore the potential of renewable energy as what it described as an ‘insurance technology’. This thesis examines the creation and evolution of the UK renewable energy programme from 1974 until its demise prior to the privatisation of the UK’s nationalised energy industries in the late 1980s. The thesis shows the important role that social movements - in this case, the new environmentalism - played in the promotion of renewable energy in the UK. This will suggest that the programme can be seen in some senses as a tokenistic gesture by the government acting within the uncertain political, social, and economic landscape of the 1970s. This thesis shows that government decisions on renewable energy were continually driven by socio-political factors which overwhelmed the unreliable economic case for renewables at that time. This is achieved by a close historical account of the two key elements of the wider programme: the Wave Energy Programme and the Wind Energy Programme. Using a mix of the existing literature, historical archive and interviews this thesis builds a historical account of renewable energy R&D in the UK between 1974 and 1988.
49
Hall, Valerie Gordon. "Aspects of the political and social history of Ashington, a Northumberland coal mining community, 1870-1914". Thesis, London School of Economics and Political Science (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.530758.
Texto completo da fonteResumo:
This thesis examines the political and social history of Ashington, a coal mining community in Northumberland, in the years 1870 to 1914. This community was the first in the county to move from the Liberal Party to the Labour Party in the early twentieth century and to reject the conciliatory policies of the late Victorian era in favour of a position of assertiveness and national solidarity in industrial relations. It was also central to persuading the accommodationist county union to adopt a similar stance. This study explores the process by which Ashington made such changes and took the lead in the county. It also analyses the actual outlook which emerged amongst the miners. In addition, this study also links the timing of the change in Ashington and the role which this community took in the county to significant developments which occurred at the local level in the early twentieth century: in the organisation of work; in the nature of community life; in the structure and character of the population and in the respective roles of the company and workers in the social realm. It is clear that these changes, along with broader developments in the nation as a whole, created a milieu which was favourable to the adoption of new policies. Though the study of only one community, this analysis illuminates the behaviour of other workers. It reveals the number of factors which can influence their outlook and it shows the complex interaction between events at the local and the national level. It also sheds light on the confusing picture of political change in the years before the First World War and upon an industrial group which played a very important part in workers' politics. In addition, it reveals the close links between change in the work sphere, in the social arena, both at the national and the local level, and in the outlook of workers.
50
au, deb quarmby@supernerd com, e Debbie Quarmby. "The politics of parks : a history of Tasmania's national parks 1885-2005". Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090422.140836.
Texto completo da fonteResumo:
This thesis examines the history of Tasmanias national parks and protected areas from 1885-2005, analysing the interests, and the organisations and individuals representing them, which have influenced outcomes. Significant organisations representing different and sometimes competing interests have been community based groups, chiefly the naturalist and scientific bodies, bushwalking clubs and environmental organisations; tourism associations, industry interests, notably forestry, mining and hydro-electricity, federal, local and state governments and government agencies, notably the National Parks and Wildlife Service. The thesis argues that the establishment and development of Tasmanias national parks and protected areas have been shaped by the negotiations, accommodations, conflicts and shifting relative power among these competing interests.
In the late nineteenth and early twentieth centuries consensus of interest among Tasmanias social and political elite facilitated the declaration of Tasmanias first scenery reserves and national parks. Conflicts of interest between preserving land in its natural state and industrial development grew apparent from the 1920s however, and Tasmanian governments managed park expansion through politics of compromise in which national parks accommodated industry demands. The environment movement that emerged in the 1960s protested national parks residual status and with federal government support defeated the State governments plan to build a dam within an area proposed for a Wild Rivers National Park. Following environmentalists success in over-riding State government processes to expand the States national park estate and World Heritage Area in the early 1980s; the State government strengthened its direct control over the National Parks and Wildlife Service and focused its attention on national parks tourism role. Aspects of tourism in national parks are, however, incompatible with the preservation of environmental and wilderness values, which resulted in further political conflict between government-supported tourism interests and the national parks movement.
This thesis complements earlier research on Tasmanian national park history by Mosley, Castles, Shackel, Mendel and Cubit by extending analysis of that history to the twenty-first century, examining the role of the National Parks and Wildlife Service in that history since the agencys inception in 1971, and addressing both environmental and social perspectives of national park history. It concludes that by the twenty-first century Tasmanian national park policy required a framework of social values associated with national parks in which to situate environmental protection as national parks primary purpose.