Дисертації з теми "Exilic artists"
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Oh, Keumhee. "Exilic experiences and creative practice : insights from the lives and art of scholar-artists exiled on Cheju Island during the Choson Dynasty (1392-1910)." Thesis, Curtin University, 2012. http://hdl.handle.net/20.500.11937/2154.
Повний текст джерелаSemerjian, Victor. "Artists in exile : the great flight of culture." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29482.
Повний текст джерелаArts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
Kiss-Davies, Adriana. "The exile experience : Hungarian and Czech Cold War refugee artists in Britain." Thesis, Aberystwyth University, 2011. http://hdl.handle.net/2160/f372a97d-f457-4ac0-b92c-99f577d46260.
Повний текст джерелаLang, Birgit. "Eine Fahrt ins Blaue : deutschsprachiges Theater und Kabarett im australischem Exil und Nach-Exil (1933-1988) /." Berlin : Weidler, 2006. http://catalogue.bnf.fr/ark:/12148/cb410371753.
Повний текст джерелаWalker, Parker Sharon LaVon. "Embodied Exile: Contemporary Iranian Women Artists and the Politics of Place." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1432%5F1%5Fm.pdf&type=application/pdf.
Повний текст джерелаDabat, Amandine. "Hàm Nghi (1871-1944) : empereur en exil, artiste à Alger." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040138.
Повний текст джерелаHàm Nghi (1871-1944), patriotic emperor according to Vietnamese historiography, victim or actor of the resistance against colonisation according to French historians, was sent into exile in Algiers in order to end the movement called Cần Vương. Deported when he was eighteen years old, pawn on the political chessboard of Indochina, he was considered by some French authorities to be an influential political figure. He was kept under surveillance his entire life and was never allowed contact with Indochina. Hàm Nghi, who was henceforth called “prince of Annam”, nevertheless established friendships with Vietnamese students of the Algiers highschool, and with officiers and missionnaries who travelled between Indochina, Algeria and France. These intermediaries helped him to maintain a connection with Indochina. Hàm Nghi dedicated his life to art. He became a painter and a sculptor. He was the student of the orientalist painter Marius Reynaud and of the sculptor Auguste Rodin, and he associated with many artists of his day. Previously the Vietnamese and French national archives informed us of the administrative aspects of the emperor’s exile, revealing only the point of view of the French government. Today the private archives of Hàm Nghi’s collection bring us the personal view of the emperor on his life. These documents enable us to write a biography and a catalogueraisonné
Surlapierre, Nicolas. "Les artistes allemands en exil en france de 1933 a 1945 : histoire et imaginaire." Amiens, 2000. http://www.theses.fr/2000AMIE0006.
Повний текст джерелаBenitez, Pilar L. "Calle Ocho revived : artists studios commemorate the role of Cuban exiles (1960-1973) in the development of Calle Ocho." FIU Digital Commons, 2001. http://digitalcommons.fiu.edu/etd/1508.
Повний текст джерелаFoster, Emmanuelle. "Les artistes peintres et graveurs allemands en exil à Paris : 1933-1939." Paris 1, 1991. http://www.theses.fr/1991PA010527.
Повний текст джерелаThe subject of this thesis is the parisian exile of german artists who fled nazi Germany between 1933 and 1939. Kandinsky, Otto Freundlich, Max Ernst, Anton Raderscheidt, Hans Bellmer, Heinz Lohmar, Gert Wollheim etc. . . In the vast majority, these were artists representative of the esthetic movements that had been responsable for the international renown of german art during the weimar republic. This exile meant a major change in the life of these artists and sometimes a complete rupture in their career. Their "weltanschauung" was radically altered. During this period, some artists developed an art with consciously political overtones in order to express their opposition to fascism. This art often took a realistic form (Heinz Kiwitz, Heinz Lohmar). Abstract painters continued in the style that had led to their being banned by the nazis. This was another form from "moral" engagement and of opposition to fasciom. German art in exile thus becomes a sector of resistance. Whether is the consciously political art or not, portraits or urban landscapes, thes works of art stand for a humanist conviction which contradicts the nazi esthetic "blut und boden". Figurative art is, in this context, the fruit of resistance. But abstract art also, (forbidden in nazi Germany) with its obvious expression of a total artistic liberty
Tien, Ming-Chang. "Visual representations of an imagined return from a Taiwanese exile : an installation of photographic diptychs with artists' books." Thesis, University of Brighton, 2007. https://research.brighton.ac.uk/en/studentTheses/5c028a5d-b469-4622-9cc2-5cddb51ae978.
Повний текст джерелаAlnahedh, Suha. "Borders of home and exile : four female artists from the Middle East and the trajectories of their diasporic experience." Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/borders-of-home-and-exile(8a749eec-4363-41e0-9f1f-08357621b621).html.
Повний текст джерелаGrebius, Sofia, and Jane Karlsson. "Äkta dans : en studie av förändringar i konst och konstnärskap beroende på kulturbyte, fallet Abdul Rahim Ghafori." Thesis, Linköping University, Department of Thematic Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2433.
Повний текст джерелаThis study examines the nature and possible causes of the changes in the art and artistry of Abdul Rahim Ghafori, an Afghan artist who has migrated to Sweden. The premise of this paper is that over time a person who migrates to another culture will undergo change. In an artist this change should manifest itself in his art and artistry. The study examines this process of change and how it is manifested in the artistry and art of Abdul Rahim Ghafori. The study intends to increase knowledge and understanding of the changes a person undergoes when experiencing a culture change.
Studien är en detaljerad fallstudie vilken ingående belyser ett konstnärskap och utförligt diskuterar ett antal av konstnärens verk. Studien undersöker vilka förändringar i konst och konstnärskapberoende på kulturbyte som kan skönjas hos den afghanske men till Sverige invandrade konstnären Abdul Rahim Ghafori. Att det över tid sker en förändring hos en person som invandrat till en annan kultur är ett utgångsantagande för studien. Hos en konstnär bör denna förändring visa sig i konst och konstnärskap. I studien undersöks vad som händer och hur detta visar sig i Ghaforis konstnärskap och konst samt vilka möjliga orsaker dessa förändringar har. Studien avser att utöka kunskapen om och förståelsen för de förändringar en människa går igenom när han eller hon byter kultur.
Penet-Merahi, Camille. "L’écriture dans la pratique des artistes algériens de 1962 à nos jours." Thesis, Université Clermont Auvergne (2017-2020), 2019. http://www.theses.fr/2019CLFAL002/document.
Повний текст джерелаThis thesis seeks to shed new light on the practices of Algerian artists from 1962 to the present day by examining the connection between writings and works of art, whether in the interweaving of words in the artistic work such as the titles, the autonomy of the artists’ writing, or the collaborative practices of artists and writers. Drawing from a corpus of work consisting of tutelary figures of the post-independence period such as Mohammed Khadda, Choukri Mesli, or Denis Martinez, of artists from the 1990s such as Adel Abdessemed, Kader Attia, or Rachid Koraïchi, and the young generation represented by Yasser Ameur, Walid Bouchouchi, or Souad Douibi, our objective is to question the connections between historic events and writing in artistic practices. At first, during the years which follow the independence and the will to become emancipated established colonial, as is set up a new "Algerian art", we observe a way of envisaging the writing, either as reactivation of the (national) past, that is as vector of Arabisation, as claiming of linguistic diversity, or as a quest of abstraction. It is then a question, for the period from 1988 to 2000, to examinate the peculiarities of a writing of exile and the naming the works abroad by insisting in particularly on the foreignness and the identity claiming with the Sufism. Finally, from 2000, a new artistic scene emerging in Algeria. As an object of transmission, writing in art is increasingly used in a global context leading to a moment when the circulation of artists and works changes of scale. This new connection to writing is envisaged in a comparative perspective with Morocco and Tunisia
Friedman, Betty McClanahan. "The princess in exile : the alienation of the female artist in Charlotte Bronte, George Eliot, and Virginia Woolf /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1341333416.
Повний текст джерелаYahi, Naïma. "L' exil blesse mon cœur : pour une histoire culturelle des artistes algériens en France : 1962-1987." Paris 8, 2008. http://www.theses.fr/2008PA083637.
Повний текст джерелаThis research proposes to analyse the cultural history of the Algerian artists in France from the Algerian independence, in 1962 until the end of the « beur » fashion in 1987. This dissertation is based on a cultural chronology of the Algerians in France and the analysis of major works. Our reasoning considers the conditions of production, the degree of reception and describes the audience: Does the Algerian cultural expression have a public in France? What are the characteristics of the Algerian cultural expression in France? What is the definition of an Algerian artist in France? What sort of financial resources do benefit to the Algerian artists? What are the main messages conveyed by these works? What media coverage do they have? And what sort of audience? Firstly, we will see how the topics of the Algerian War and exile transcend the Algerian literature written in French and the Algerians’ musical repertoire in France. Secondly, we will analyse how Algerian immigration uses cultural action as a mean of social and political demands, through concerts and plays. Lastly, we will describe the circumstances in which the media coverage of the « beur » artists of the « second generation » improves, and eventually give meaning to the concept of multicultural society
Zullo, Douglas R. "Jiri Kolar in Exile: Ubiety and Identity in Two Views of Prague." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1132666987.
Повний текст джерелаBory, Plenet Aimée. "Exil(s) et création : dans quelle mesure l'éloignement du pays d'origine peut-il agir sur la création artistique et l'influencer ?" Paris 4, 1997. http://www.theses.fr/1997PA040205.
Повний текст джерелаZapperi, Giovanna. "Stratégies artistiques et masculinité : Marcel Duchamp et son entourage entre avant-garde et culture de masse, 1909-1924." Paris, EHESS, 2005. https://buadistant.univ-angers.fr/login?url=https://www.cairn.info/l-artiste-est-une-femme--9782130606543.htm.
Повний текст джерелаThis dissertation focuses on the relationship between the artist's masculinity and mass-culture in the context of the 1910s avant-garde. Exiled in New York because of the war, several European artists, experienced an industrial, sexual and social modernity that led them to call into question their own identity as artists. Marcel Dchamp gave his most radical expression to this artistic crisis in a context dominated by the upheaval of the old sexual paradigms and the rise of industrial capitalism. The mechanization of labor, the development of mass- consumerism and the transformations in the condition of women strongly affected the avant-garde of the years and determined various strategies adopted by the artists in order to redefine their masculinity
Kulykivska, Mariia. "President of Crimea. Constitution : Author(s) Autonomous Republic of Xena-Maria." Thesis, Konstfack, Institutionen för Konst (K), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7252.
Повний текст джерелаKrebs, Sophie. "L'Ecole de Paris, une invention de la critique d'art des années vingt." Paris, Institut d'études politiques, 2009. http://www.theses.fr/2009IEPP0045.
Повний текст джерела« L’Ecole de Paris », was launched in 1923, in the course of a quarrel said « Quarrel of the Independants », during the organization period of the 1923 and 1924 « Salon ». The art critics, who were in favor of the foreigners, invented this notion to distinguish the foreigners installed in France for a long time, from the true foreigners. They were relying on the fact that a strong immigration movement could be observed in Montparnasse. Thanks to its dominating position in the Press and in the publishing business, this movement revealed artistic networks, which were associating French and foreigner writers and artists, and which were grounded on mutual aid. These networks were crossed with diffuse but very present anarchistic networks. The same art critics fabricated individual or collective myths and of a welcoming city of Paris, which would be eager to let blow all talents from the entire world. Yet, behind this claimed universalism, artcriticism revealed divergent positions along the 1920s, from generous cosmopolitism, to overcautious nationalism, even to a more affirmed xenophobia in the name of the defense of French art. The question of anti-Semitism goes along with the debate on foreigners, and at the same time raises the question of a Jewish School of Paris and Jewish art. At last, in the beginning of the 1930s, a time which marked the end of the “Ecole de Paris”, the museums then grabbed the notion of “Ecole de Paris” in order to introduce modernity. The new “Musée national d’art moderne”, which bound the two collections, does not solve the question which established an “ethnic” distinction, and not an artistic one
Mascarenhas, Nilton. "O papel das criações artísticas na integração de refugiados em Paris: o caso dos artistas refugiados do “Atelier des artistes en exil”." Master's thesis, 2020. http://hdl.handle.net/10400.2/10109.
Повний текст джерелаUniversal form of language, art is one of the most used means to express thoughts, emotions, individual and collective identities. Through art, human groups and individuals influence the behavior of their peers, influence opinion, exercise citizenship, manifest their political and rights demands, criticizing the state of the world and society as well as projecting their views of the world . Indeed, artistic practices are useful tools for understanding otherness and intercultural relations. Being itself a mirror of human cultural diversity, art has the potential to facilitate communication with the “Other”, which can take many forms: it can either designate a position outside of us to which we attribute the same thoughts and feelings as we, but it can also represent a danger, the rival or the enemy. The “Other” can also be the foreigner, the guest, the being who comes from afar, that traditionally religions advise to receive and give shelter. It is precisely in this latter form that our study is concentrated. Following the increase in migratory flows towards Europe between 2015 and 2016, France, like other EU countries, was faced with the need to think about the integration of an increasing number of asylum seekers and refugees. In view of the insufficient responses on the part of the State, many initiatives have emerged from civil society that aim to promote hospitality and the full integration of migrants. From the study of the activities of a cultural space in Paris created for this purpose, atelier des artistes en exil, from the study of the narratives and practices of refugee artists associated with it, we seek to understand what is the role of art in the integration of refugees.
Jenkins, Elizabeth Speight. ""faithful Departed": tracing the themes of exile and betrayal through James Joyce's Dubliners, A Portrait of the Artist as a Young Man, and Exiles /." 2008. http://www.lib.ncsu.edu/theses/available/etd-03142008-150110/unrestricted/etd.pdf.
Повний текст джерелаRokytová, Bronislava. "Exilová výtvarná scéna v Čechách a její následné působení v zahraničí, 1933 až 1945." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313185.
Повний текст джерелаYu-Chia, Hsieh, and 謝侑佳. "The Imprisonment and Exile of “the Other”:to Search for “ the Other” in the Field of the Artistic Creation." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/55635799382392773317.
Повний текст джерела臺北市立教育大學
視覺藝術研究所
95
To reveal the research purpose on attaining the internal state of self-accepttance and self-approval, the author of this essay probes the factors of the gender’s difference, introspects the possibility beyond the duality of the male and femal, utilizes the aspect of “the other” to clarify the feminine value and social status, and furthermore, integrates the arts of quilt to present her individual viewpoint. In the first and second chapters,the author takes the concept of decentralization in the theory of deconstruction as a starting point. Then, on the one hand, she quotes not only the analysis of “the other” from Lacan, Jacques ( Marie Emile ), but also the reflection of female artist, Miriam Schapiro, to explore the connection between the issues of Hakkas(one of ethnic groups in Taiwan)female, and mother vs. daughter; On the other hand, the author looks back upon the formation background of the traditional Chinese needlework, as well as the features of the Western arts and crafts, to confirm her own position of artistic creation. The author takes quilt as the main form of expression to produce her own artistic work. Through the reviewing process of her mother and the past, in order to examine her own self-identity and self-approval, the author’s creation, combining the elements and perception of fabrics, patching, mother image, and “the other”, is used as an attempt to excavate her known and unknown ego.
Fergus, Larissa. "My sister chaos : women and exile : a novel and inter-layered exegesis." Thesis, 2010. https://vuir.vu.edu.au/30098/.
Повний текст джерелаDonné, Tereza. "John Heartfield v Československu." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-340352.
Повний текст джерелаJarolímková, Klára. "Paříž jako útočiště českých umělců po roce 1945." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-398676.
Повний текст джерела