Дисертації з теми "Art as propaganda"
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Lessa, Laís Quintella Malta. "Pop art e propaganda: uma relação interdisciplinar." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2726.
Повний текст джерелаFundo Mackenzie de Pesquisa
Through an interdisciplinary analysis between art and publicity, this study seeks to establish the relationship amid the propaganda spread in the post-war period in the United States and the Pop Art Movement. Focusing the changes that have occurred in the season with these two issues will prove that what happened with the Movement Pop and advertising, may be established as a homogenous relationship, in which symbols, icons and popular myths were portrayed in ways similar to works by artists and advertising of the period studied. This uniformity will be revealed through a semiotic analysis of advertisements and works of the movement, to develop critical values that might widen the scope of professional actuation of communication, and allow the knowledge and approach the subject, in reflection of their creations committed to the social and economic juncture of the season.
Por meio de uma análise interdisciplinar entre arte e publicidade, o presente estudo busca estabelecer a relação em meio à propaganda veiculada no período do pós-guerra nos Estados Unidos e o Movimento Pop Art. Evidenciar as transformações ocorridas na época com essas duas temáticas irá comprovar que o ocorrido com o Movimento Pop e a publicidade, pode ser estabelecido como uma relação homogênea, na qual símbolos, mitos e ícones populares eram retratados de maneiras similares em trabalhos de artistas e publicitários do período estudado. Esta homogeneidade será revelada por meio de uma análise semiótica entre anúncios publicitários e obras do movimento, no sentido de desenvolver criticamente valores que possam ampliar as possibilidades de atuação dos profissionais da comunicação, assim como permitir o conhecimento e a abordagem do tema, na reflexão de suas criações comprometidas com a conjuntura social e econômica da época.
Thériault, Mark J. "Art as propaganda in Vichy France, 1940-1944." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112592.
Повний текст джерелаThe fine arts were purged of "foreign" influences, yet the German Arno Breker was invited to exhibit his sculptures in Paris. In the spirit of national redressement, traditional French art was promoted; however, Modern art, which Hitler condemned as cultural Bolshevism, continued to be produced. With reference to the words of Petain, Hitler, French artists and art critics, and a variety of artworks, this thesis shows how art was used to propagate the ideology of the Vichy regime.
Bevan, Paul Graham. "Manhua artists in Shanghai 1926-1938 : from art-for-art ʼs-sake to wartime propaganda". Thesis, SOAS, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.729337.
Повний текст джерелаŽilinskas, Jonas. "Animacija, kaip propagandos įrankis." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140717_105817-59952.
Повний текст джерелаThis work analyzes the concept of propaganda, the main aspects of animation and the reasons of the use of animation as a tool of propaganda. The aim of this work is to analyze the use of animation as a tool of propaganda. The purpose of this work is being attained by describing the definition of propaganda and its main principles according to American psychologist Knight Duplan and discussing the national socialist party’s use of propaganda during the period of World War II, describing the main aspects of animation according to animator Tomas Mitkus, discussing the use of propaganda in modern times, according to Gintautas Mažeikis, and analyzing the examples of propaganda animation(Education for Death: The Making of the Nazi(1943), Der Fuehrer's Face (1942), Ending Overfishing (2012)). The attained theoretical knowledge is applied in the creative project. The creative projects gives the author‘s interpretation of propaganda. The final result of creative project is an animated video work „Cary Care“.
Daniel, Marko. "Art and propaganda : the battle for cultural property in the Spanish Civil War." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285847.
Повний текст джерелаChan, Nicole E. "Xing: Sex, Gender and Revolution in Contemporary Chinese Art." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/315.
Повний текст джерелаFischer, Julia Claire. "Private Propaganda: The Iconography of Large Imperial Cameos of the Early Roman Empire." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1414586866.
Повний текст джерелаPrölss-Kammerer, Anja. "DieTapisserie im Nationalsozialismus : Propaganda, Repräsentation und Produktion, Facetten eines Kunsthandwerks im "Dritten Reich /." Hildesheim : G. Olms, 2000. http://catalogue.bnf.fr/ark:/12148/cb38966187w.
Повний текст джерелаBelli, Melia. "Royal umbrellas of stone memory, political propaganda, and public identity in Rajput funerary architecture /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1905690701&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Повний текст джерелаSearle, Rebecca K. "Art, propaganda and the experience of aerial warfare in Britain during the Second World War." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6919/.
Повний текст джерелаPorter, Austin. "Paper bullets: the Office Of War Information and American World War II print propaganda." Thesis, Boston University, 2013. https://hdl.handle.net/2144/34333.
Повний текст джерелаThis dissertation analyzes American World War II propaganda generated by the Office of War Information (OWI), the nation's primary propaganda agency from 1942 to 1945. The visual rhetoric of printed OWI propaganda, including posters, brochures, newspaper graphics, and magazine illustrations, demonstrated affinities with advertising and modern art and exhibited an increasingly conservative tone as the war progressed. While politically progressive bureaucrats initially molded the OWI's graphic agenda, research reveals how politicians suppressed graphics that displayed the war's violence, racial integration, and progressive gender roles in favor of images resembling commercial advertisements. To articulate the manner in which issues of American self-representation evolved during the war, this study examines the graphic work of artists and designers such as Charles Alston, Thomas Hart Benton, Charles Coiner, Ben Shahn, and Norman Rockwell. The investigation unfolds across four chapters. The first chapter examines the institutional origins of American World War II propaganda by exploring the shifting content of New Deal promotional efforts during the 1930s and early 1940s. This analysis is critical, as government agencies used propaganda not only to support economic recovery during the Great Depression, but also to prepare Americans for war before the Japanese attacked Pearl Harbor. The second chapter analyzes the ways OWI increasingly suppressed depictions of violence as the war progressed. While the agency distributed traumatic images of Axis hostility early in the war, such work was later deemed "too aggressive" by former advertising executives turned federal bureaucrats who preferred more friendly, appealing graphics. The third chapter focuses on propaganda intended for African Americans, whose support for the war was divided due to racist Jim Crow legislation. This section analyzes OWI efforts to address the nation's largest racial minority through posters, brochures, and newspaper graphics. The fourth chapter examines the OWI's efforts to influence middle-class white women, a demographic of consumers whose influence grew as the war progressed. This includes an examination of the OWI's role in modifying the "Rosie the Riveter" mythology in contemporary advertising to encourage women to pursue jobs outside of factory work.
Wolken, Christine Chiorian. "Beauty, Power, Propaganda, and Celebration: Profiling Women in Sixteenth-Century Italian Commemorative Medals." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1339555478.
Повний текст джерелаWetzel, Julia L. "The Making of a Princeps: Imperial Virtues in Monumental Propaganda." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707382/.
Повний текст джерелаRosa, Pedro Miguel Aparício Alves. "O cartaz de propaganda do Estado Novo-1930-1940." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2000. http://dited.bn.pt:80/29361.
Повний текст джерелаPetcavage, Stephanie. "Fascist Art and the Nazi Regime: The Use of Art to Enflame War." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1463130930.
Повний текст джерелаBaillargeon, Claude. "Religious fervor and photographic propaganda : Durandelle's anatomical studies of the Sacré-Coeur de Montmartre /." Rochester : Claude Baillargeon, 2002. http://catalogue.bnf.fr/ark:/12148/cb39217910n.
Повний текст джерелаNicoletti, Chiara <1978>. "Storia in immagini del PCI. Modalità di comunicazione e di propaganda audiovisiva tra attendibilità storica e mercato contemporaneo." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3054/.
Повний текст джерелаTOSCHI, DEBORAH. "Un circuito marginale. Materiali, dispositivi e prassi della cinematografia di istruzione e propaganda rurale." Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/103.
Повний текст джерелаAgainst the background of the (now familiar) transition from early to classical cinema my work explores a marginal filed of research: the educational and rural propaganda cinema and its institutional practices produced ad developed in Italy between 1912 and 1937. Taking the Istituto Nazionale Minerva, Istituto Italiano Proiezioni Luminose, Istituto Luce's agricultural cinemateca and the Opera delle Proiezioni Luminose and the Istituto Cerere as case studies, I outline the films, visual devices, and practices used in what I call a rural circuit of films . My project is therefore focused upon an invisible cultural practice which has been traditionally disregarded by scholars. It introduces an otherwise absent corpus of works into institutionalizations's theories, revealing a complex and less obvious film history. At the same time, the rural circuit of films embodies the strength of a new medium and the movement towards dictatorship in Italy. Film offers itself as an instrument which traces the expectations and needs of pedagogical institutions and their changing relationship to the masses.
Greeson, Helen M. "Gendering the Republic and the Nation: Political Poster Art of the Spanish Civil War, 1936-1939." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/history_theses/51.
Повний текст джерелаZabolinezhad, Hoda. "A la recherche de la figure de l'artiste contestataire contemporain, dans le cadre de la mondialisation : le cas particulier des artistes contestataires iraniens." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC005.
Повний текст джерела"The analytical philosophers of art and the conceptual artists have in common to refuse the theorization and the search for the beautiful as idea or norm, to pose instead a definition of art as a symbolic function always to decrypt from itself and its own language, without applying to it an essence a priori "explains Dominique Chateau (French esthetician, born in 1948). In other words, it is the aesthetics of logical empiricism and pragmatism. The reference to a part of the introduction to the first issue of the Revue francophone d'esthétique, under the direction of Frédéric Wecker, written by Jean-Pierre Cometti, Jacques Morizot and Roger Pouivet, clarifies the objective of this aesthetic theory. ; "[...] Would aesthetic problems have dissolved in the generalized media? Are they doomed to nourish a brilliant essayism but without theoretical significance? Should we give the floor to historians, social scientists or professionals in the art world? That is not our conviction. We want to bet on an aesthetic approach open to all the manifestations of art and that claims a bias of conceptual analysis and critical argumentation. In fact, it is not enough to appeal to a fundamental anthropological dimension, nor to stick to the petty currency of events and events. Like any discipline of any ambition, aesthetics must be able to construct its own objects and revise its results and procedures: this is its only guarantee of escaping the frenzy of interpretation. "Regarding this reflection the analytical aesthetic is a constant dialogue with the avant-garde works of art of modern and contemporary art, notably those of Duchamp and Warhol, emphasizing a set of sometimes heterogeneous aesthetic theories; far from traditional theories, all these theories reject the beautiful as an essential principle of what has become known to art, that is to say the work of art. [...]
Hill, Caroline. "Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.
Повний текст джерелаKoehler, June, and June Koehler. "An Old Art for a New Culture: The Popular and the Avant-Garde in Josep Renau's Nueva Cultura." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12418.
Повний текст джерелаHoeschen, Jessica. "THE ENGLISH REFORMATION IN IMAGE AND PRINT: CULTURAL CONTINUITY, DISRUPTIONS, AND COMMUNICATIONS IN TUDOR ART." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2244.
Повний текст джерелаM.A.
Department of History
Arts and Humanities
History MA
Schmuhl, Yvonne. "Römische Siegesmonumente republikanischer Zeit : Untersuchungen zu Ursprüngen, Erscheinungsformen und Denkmalpolitik /." Hamburg : Kovač, 2008. http://www.verlagdrkovac.de/978-3-8300-3425-4.htm.
Повний текст джерелаBergström, Niclas. "Bilden av staden : Stockholm som motiv i historiska och samtida avbildningar." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-403528.
Повний текст джерелаMattos, Paula de Vincenzo Fidelis Belfort. "Apropriações de imagens artísticas e arquitetônicas pela mídia." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-19052010-085029/.
Повний текст джерелаThis thesis shows reinterpretation of consecrated images Art History and Architecture that are constantly found in advertising pieces and the media as well as in architectonic faces of buildings in São Paulo from the XX to XXI centurys transition. The reinterpretation of the advertising pieces focus on images that became famous in the contemporary world and highlight the ones that refer to the world of classical tradition, even though, it is possible to find other historical moments also highlighted in the advertisements. It was noticed from the two reinterpretations that those references are used because of the symbolic aspect they take throughout history.
Deijl, Aarnoud van der. "Protest or propaganda : war in the Old Testament Book of Kings and in contemporaneous ancient Near Eastern texts /." Leiden : Brill, 2008. http://catalogue.bnf.fr/ark:/12148/cb41341528z.
Повний текст джерелаIvinger, Carl. "Med bilden som vapen : Gustav II Adolf skildrad i propagandabilder under det trettioåriga kriget." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194591.
Повний текст джерелаInksetter, Hamish. "Perceptions of Evil: A Comparison of Moral Perspectives in Nazi Propaganda and Anti-Nazi Literature." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/31917.
Повний текст джерелаRodrigues, Mariana. "Girls better than cheesecake : as garotas pin-ups e sua influência na construção de uma cultura nacional estadunidense no século XX /." Marília, 2018. http://hdl.handle.net/11449/157472.
Повний текст джерелаBanca: Rafael Salatini
Banca: Gabriel Cunha Salum
Resumo: Esta dissertação de mestrado tem por objetivo geral desdobrar como deu-se a consolidação da imagem das pin-ups estadunidenses como produto nacional de alcance mundial e a maneira como alcançaram a representatividade das mulheres ao encará-las como um ideal a se seguir. Ao interrogarmos como essas mulheres se fizeram tão presentes no imaginário dos anos de 1930 a 1950 trataremos de sua entrada nos meios de comunicação - que não se restringiriam as revistas - e acabariam por tomar o mercado e os meios de comunicação de modo geral a partir das ilustrações de Gillete Elvgren, George Petty e Alberto Vargas. Assim através do estudo de teóricos, tais como Maria Elena Buszek, se buscará compreender como uma massificação da imagem das garotas pin-ups, cada vez mais padronizada foi inserida na indústria de consumo e amparada também pela indústria em época de guerra, sobretudo com a Segunda Guerra Mundial. Elas conduziriam o que se viria a se esperar das mulheres em meio à guerra: se tornarem fortes e serem autênticas nacionalistas, construindo assim um valor patriótico a partir da imagem feminina inserida e unificada como símbolo do patriotismo e da liberdade do povo estadunidense. Somando-se a este objetivo, será mapeada a atuação destas mulheres na implantação de uma cultura nacional estadunidense e no processo de transformação da intimidade e percepção com o corpo, que se deu principalmente durante o ápice dos Anos Dourados, que abarca os anos de 1940 e 1950, período que marcou tamb... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This master's thesis has as general objective to unfold as the consolidation of the image of the US pin-ups as a national product of world-wide reach and the way in which the representativeness of the women was given when facing them like an ideal to be followed . When we questioned how these women became so present in the imagery of the 1930s and 1950s, we will consider their entry into the media - which would not be restricted to magazines - and would eventually take the market and the media in general from the Gillete Elvgren, George Petty and Alberto Vargas. So through the study of theorists, such as Maria Elena Buszek, will seek to understand how a massification of the image of pin-ups girls, increasingly standardized. Inserted in the consumer industry and also supported by wartime industry, especially with World War II, they would lead what was to be expected of women in the midst of the war: to become strong and to be authentic nationalists, thus building a value patriotic from the feminine image inserted and unified as a symbol of the patriotism and freedom of the American people. In addition to this objective, the role of these women in the implantation of an American national culture and in the process of transformation of intimacy and perception with the body will be mapped, mainly during the peak of the Golden Years, which covers the years 1940 and 1950, a period that also marked the transition from old advertising techniques to a new reality fostered by cultural ... (Complete abstract click electronic access below)
Mestre
Lynch, Sylvio III. "Morality and Aspiration: Some Conditions of Norman Rockwell's Four Freedoms." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1577554501384163.
Повний текст джерелаMollard, Ingrid. "L’homme volant : l’imaginaire aéronautique dans la culture visuelle européenne de 1903 à 1937." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040054.
Повний текст джерелаAeronautics underwent a significant development during the first decades of the 20th century. Helped by new technological advancements aeronautics quickly became omnipresent in all sectors of the European life and culture. From the figure of the airplane’s pilot emerged subtly, then with strength, the image of a strong and brave man personifying his country. Finding a favorable receptacle in the Great War’s heroes, the totalitarian governments shaped the pilot as the avatar of an ideal man. The European imagination of the first third of the 20th century gave birth to the "flying man", a facet of the “new man”, embodying the greatness of its nation
Glasson, Pauline. "Les représentations de la victoire navale de la haute époque hellénistique à Auguste." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040109.
Повний текст джерелаThe plastic expression of naval victories operates as a window through which can be observed the celebration rituals, commemoration modes and the political intentions of its bakers. The main purpose is to focus on the birth of this images dating back from the Greek and Roman traditions based on the returning soldiers and the celebration of success. These cathartic traditions were the artistic inspiration to create the iconography of the naval victories. Initially forbidden in the classic Greek era and regulated by Rome’s republican values and the influence based on the Eastern and Macedonian practices that gave kingship to his generals for decisive success, the appearance of images and monuments displaying victory started to show up as they realize the political power it implies to claim military achievements. Naval victory representations generated a rich artistic production in various and multiple forms, from sculptures to coins and even private home decoration; the goal was to be massively present. The Analogy between Roman’s and Hellenic’s celebration and commemoration of naval victories in all types of support allows a compilation of iconographic themes that belongs to the mythology, military and religious domains. The study of the political purpose of this art demonstrates that the representations were use as a broadcast support for ideologies. It’s the diversion of the naval military success into propaganda that became mainstream in politics and explains the originality and subtlety of naval victory themes
Gresh, Kristen Ann. "The Family of man : histoire critique d'une exposition américaine." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0132.
Повний текст джерелаIn 1955, Edward Steichen organized the historic exhibition "The Family of Man" at the Museum of Modem Art (MoMA) in New York. Under the auspices of United States Information Agency, it was exhibited throughout the world and gained a mythic status. This dissertation looks beyond that myth, in order to present a reference document with background information not previously examined. It is based on the author's research involving personal interviews with photographers who contributed to the exhibition as well as the analysis of unpublished archival documents. Part 1 explores the MoMA's World War II programs that paved the way for "The Family of Man", Steichen's career and his role as director of the museum's photography department. Part II traces the origins of the project, showing Steichen's various collaborations through a thorough examination of his correspondence, his individual and group meetings with photographers, and, in particular, his decisive trip across Europe. Part III examines the methods and results of Steichen's work, as both photographer and editor. A discussion of the sources of "The Family of Man", mainly photojournalistic, illustrates the contours of press photography at the time followed by a synopsis of the exhibition and its international circulation, in several versions. This dissertation demonstrates how "The Family of Man" was a tour de force in the history of photography because of Steichen's ability to combine his innovative photographic and editing skills that exploited the medium to communicate a political agenda that is a reflection of a complex network of colleagues, friends and acquaintances from the world of photography and of politics
Dauphin, Sandrine. "Art et totalitarisme : l'esthétique comme instrument de propagande." Paris 2, 1997. http://www.theses.fr/1997PA020070.
Повний текст джерелаIn the first part of the twentieth century, the antagonism between communism and facism was not limited only to ideological and military levels but was also present at cultural levels. Indeed mussolini's italy, hitler's germany and staline's ussr created a common aesthetic in spite of political opposition. Thus, these totalitarian states exploited art for the purpose of propaganda. If art is an active agent of communication between men, then art can also be the manner for ideological expression. How then did art change, orientate and modify an individual's perception of the world in general? architecture reflected pomp and luxury while its large scale works expressed authority crousing fear and admiration at the same time. As for support of the "plastic arts", they allowed, deification of the supreme chief and permitted the announcement of the new man. Art was giving rise form to the totalitarian utopia which existed to transform human nature. Art was not simply the society's reflection but the reflection of the idea the power made of its people. Its allowed the people to believe in spiritual union with the state and its chief
Girard, Max. ""La Grande Emotion". La mise en scène des missions chrétiennes dans les expositions coloniales et universelles : France - Belgique. 1897 - 1958." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE3010.
Повний текст джерелаFrance and Belgium organised several international and colonial exhibitions, as well as universal exhibitions or World Fairs, from the end of the 20th century to 1958. Through these world exhibitions, these two great colonial powers developed various forms of propaganda to account for their “civilizing missions”. Protestant and catholic missionaries took part in those great celebrations. By reading and working on archives of religious congregations such as the congregation of the Holy Spirit, The Jesuit, and the oeuvre de la Propagation de la Foi, but also the French, Belgian and Swedish national archives and the Holy Sea archives, I was able to understand how the missionaries organized themselves to take part in those exhibitions in France and Belgium. The missionaries organised exhibitions in ever growing pavilions which would become huge architectural complexes, from the 1897 exhibition (taking place in Tervuren) to the 1935 and 1958 exhibitions (taking place in Brussels), not forgetting the 1900, 1931 and 1937 Paris exhibitions. The way missionaries staged their work changed and evolved. Indeed, “indigenous” artifacts were gradually less displayed and missionaries used dioramas, stylish statistics and lit-up maps instead. The architecture of the pavilion was in itself telling, a good example of this being the 1931 pavilion of the Catholic missions. The way missionaries staged their exhibitions reflected the changes in their worldview. The colonized populations and their cultures were more and more emphasized, while the link with the colonization was less and less asserted and straightforward
Raynolds, Nicholas. "the emotional plague." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3773.
Повний текст джерелаGustafson, Adam R. "The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth-Century Bavaria." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1304703924.
Повний текст джерелаGlomm, Anna Sandaker. "Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3171.
Повний текст джерелаTsagkarakis, Ioannis. "The politics of culture : historical moments in Greek musical modernism." Thesis, Royal Holloway, University of London, 2013. http://repository.royalholloway.ac.uk/items/275daedd-e867-48d5-8981-ff49b1da4d5c/1/.
Повний текст джерелаLecosse, Cyril. "Jean-Baptiste Isabey (1767-1855) : l'artiste et son temps." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20119.
Повний текст джерелаJean-Baptiste Isabey (1767-1855) had an exceptionally long career that spanned from the French Revolution until the Second French Empire. After his early works' exhibition at the Salon of 1791, this student of Jacques-Louis David rapidly became, on the art scene of the French Directory, the finest artist and miniaturist of his time. In a context that made the dissemination of low-cost and small-sized portraits easier, his unusual success reflects the change of artistic recognition criteria in the late eighteenth century. It also reflects the improvement of the social status of artists around 1800. Linked to people that were close to Bonaparte under the French Consulate, Isabey is one of the period's best introduced portraitists. His cleverness in using themes that meet his contemporaries' tastes clearly shows how important social relationships can be in the making and spreading of artistic reputations at the turn of the nineteenth century. Between 1800 and 1805, Isabey is the author of several large propaganda drawings that punctuate the main steps of the new power's consolidation. Familiar with the imperial nobility, the artist collects honours and official commissions in the wake of the Coronation. His reputation is associated with miniature portraits of the Emperor made for the fund of diplomatic presents and with some of the most famous official representations of Marie-Louise and of the King of Rome. His responsibilities are manifold and he produces a lot: he is the official painter for external relations, designer of the Cabinet, designer of Ceremonies and chief decorator of the Opera. The study of this multidisciplinary career gives many keys to a better understanding of the career and status of court artists under the Empire. After Waterloo, Isabey is sidelined because of his bonapartist commitments. At this time the artist performs several caricatures and portraits where he clearly criticizes the freshly restored monarchy. Analysing the effects of this resistance to the royalist regime in the world of arts between 1815 and 1820 helps in understanding his commitment to the opposition. The period opening in the aftermath of the Hundred Days is also fundamental to understanding Isabey's artistic career and to appreciate the place he was assigned by his contemporaries in the art of the first part of the nineteenth century. His prolific output, which comes in miniature on vellum, drawings, lithographs, watercolours and oil paintings shows his constant concern about changing tastes. It also highlights the difficulty he has to maintain his reputation as a portraitist after 1820.This thesis provides for the first time a catalogue of Isabey's works
Hould, Claudette. "La gravure revolutionnaire : diffusion et propagande." Paris, EHESS, 1990. http://www.theses.fr/1990EHES0315.
Повний текст джерелаPrints produced during the french revolution (1789-1799), their relation to political events, their utilization as means ofpropaganda for or against the revolution: a corpus of 6 000 prints, illustrated by 250 prints reproduced and commented in the catalogue of the exhibition images of the french revolution (french edition images de la revolution francaise), musee du quebec, 1989. The artistic, social and legal status of printmakers and their century old struggle to defend their artistic status, to obtain the legal recognition of copyright as well as against censorhip. Study of the content - historical and political - of the prints, of their material aspects and their diffusion. Calling into question the authenticity of the political commitment of printmakers and situating their patriotism in a context of political constraint. The intervention of the government in the arts, restricted to public speeches and described in the official documents (mainly in the acts of the committee of public safety) has been compromised in actual practive by the reality of the revolution
Le, Bourgeois Jacques. "La propagande soviétique de 1917 à 1991 au travers des affiches de propagande : l'affiche de propagande, miroir de l'Histoire, reflet des mentalités." Caen, 2007. http://www.theses.fr/2007CAEN1480.
Повний текст джерелаBell, Roslynne. "Power and Piety: Augustan Imagery and the Cult of the Magna Mater." Thesis, University of Canterbury. Classics and Linguistics, 2007. http://hdl.handle.net/10092/955.
Повний текст джерелаLambert, James K. "REEL NAZIS a propaganda history." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4954/.
Повний текст джерелаPieczenik, Sharon Rovner. "We are still talking the wrong language to 'tv babies'." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/pieczenik/PieczenikS0508.pdf.
Повний текст джерелаKaikkonen, Marja. "Laughable propaganda : modern Xiangsheng as didactic entertainment /." Stockholm : Institute of Oriental languages, Stockholm university, 1990. http://catalogue.bnf.fr/ark:/12148/cb35697384b.
Повний текст джерелаMick, Christoph. "Sowjetische Propaganda, Fünfjahrplan und deutsche Russlandpolitik 1928-1932 /." Stuttgart : F. Steiner, 1995. http://catalogue.bnf.fr/ark:/12148/cb35763428q.
Повний текст джерелаPetrakis, Marina. "The Metaxas myth : dictatorship and propaganda in Greece /." London : Tauris academic studies, 2006. http://catalogue.bnf.fr/ark:/12148/cb40159340x.
Повний текст джерелаBaharal, Drora. "Victory of propaganda : the dynastic aspect of the Imperial propaganda of the Severi : the literary and archaeological evidence AD 193-235 /." Oxford : Tempus reparatum, 1996. http://catalogue.bnf.fr/ark:/12148/cb36184305j.
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