Дисертації з теми "Influence on art"
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1
Schortgen, Justin Timothy. "Influence." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4748.
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Cho, Man Ho. "Industries/ influence ceramics." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5440.
Повний текст джерелаАнотація:
Cultivating the spatial relationship in between utility and sculpture generates my process. I deconstruct, reconstruct and assemble objects; bringing to them a new perspective that simplifies the structure while enhancing the surface and the unassuming nature of the forms.
Developing vessels for drinking or pouring serves as the foundation for my study of materials, architectural foundations and elements of utilitarian objects. The functional purpose of the objects becomes minimized due to the structure beneath the surface and the constructed role of the base blurring distinctions between function and form.
3
Kouneni, Garyfallia. "Antiquity through medieval eyes : the appropriation of antique art in the Trecento." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/727.
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Pedrosa, Sebastiano Gomes. "The influence of English art education upon Brazilian art education from 1941." Thesis, Birmingham City University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332216.
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Antoine, Jean-Philippe. ""Ars memoriae" : image, espace, figure en Italie (1250-1450)." Paris, EHESS, 1989. http://www.theses.fr/1989EHES0323.
Повний текст джерелаАнотація:
L'art de la memoire antique, redecouvert au xiieme siecle, occupe une place importante dans la culture des clercs et dans la culture civile du xiiieme au xveme siecle. Apres avoir retrace l'histoire de cette redecouverte, ce travail s'interesse aux processus de figuration propres a la memoire artificielle, et a leur rapport avec la production d'images materielles. L'excentrique rhetorique de la memoire est analysee a partir des categories medievales contemporaines, puis a partir des categories freudiennes d'analyse des figures. La construction d'images mentales de memoire a eu une influence sur la production des peintures, ce que montrent a la fois la presence de mots "caches" dans l'image et les transformations de l'espace pictural. L'habitus mental de placer des images dans des lieux conduit a une conscience nouvelle de l'interaction entre espace architectural et espace pictural, creant une region de memoire inedite. Ce moment "spacieux", souvent considere comme moment primitif de la decouverte de la perspective, possede en fait des principes coherents, fondes sur l'image concue comme memoria. La perspectiva post-albertienne y met fin, en separant l'image de la memoire.
6
Mark-Ng, Elsa. "Public Art in Outdoor Space: How Environmental Art Can Influence Notions of Place." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1559347543553644.
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7
Kosmadaki, Polyxeni. "Antiquité et art grec contemporain dans la deuxième moitié du vingtième siècle." Paris 4, 2003. http://www.theses.fr/2003PA040071.
Повний текст джерелаАнотація:
La présente thèse étudie l'influence de l'Antiquité sur l'art grec contemporain de la deuxième moitié du XXe siècle : ce processus d'échange prend une ampleur considérable dans un pays constamment en quête d'identité nationale. Elle est dirigée vers la résolution de quatre questions : comment se forme le processus de l'échange ? Comment se manifeste-t-il dans une société particulière ? Quelle est son étiologie ? Quels sont ses rapports avec la pensée, l'histoire et le droit ? Cette analyse se développe en deux temps. Premièrement, une étude sérielle de la nature de l'échange, au travers d'exemples, et, deuxièmement, l'étiologie et le bilan raisonné du phénomène ; dans le premier cas, il s'agit de définir un phénomène artistique général et, dans le deuxième, de l'interpréter et de l'expliquer pour une situation historique précise. La première partie comprend, ainsi, la déconstruction analytique des ouvrages et le regroupement des processus en cause, tandis que la deuxième envisage toutes les explications possibles de l'échange et dresse le bilan raisonné du phénomène artistique dans la situation historique concernéeThe present thesis studies the influence of Antiquity on contemporary Greek art (2nd half of the 20th century), an "exchange" process of great importance in a country such as Greece, in constant search of its identity. This thesis is directed towards the solution of four particular problems: the development of an exchange process between two cultures; its place in a particular society; its association with thought, history, rules and ethics; its etiology. To resolve these problems I have established an analytical model of exchange phenomena which studies the processes involved and I have explored the emergence of this phenomenon in a precise historical situation. The analysis evolves in two parts: first, a serial study of the nature of the exchange and, second, its causes and the results of its evaluation. The first part includes the analytical deconstruction of the works and the grouping of the processes involved, whereas, the second part, considers all their plausible explanations ; it sets up the historical interpretation of the phenomenon and its quantitative repartition
8
Тюрменко, Катерина Олександрівна. "Influence of art on mental state of mind." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18272.
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9
Rumsey, Adrienne Lynn. "Aesthetic Self-Reliance: Emersonian Influence on American Art." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2426.
Повний текст джерелаАнотація:
This essay is an examination of the influence of Ralph Waldo Emerson on the development of American art through his essays, specifically his writings on nature and self-reliance. Through emphasizing individual potential, Emerson also influenced the visual arts. Instead of following the required formula in Europe of attending certain ateliers and seeking prestigious patronage, American artists, namely the Luminists and the Ashcan School, sought to address the issues of their day and portray life as it existed around them. Each of these groups formed during periods of time when American society was shifting and the American identity was evolving. Through addressing the issues at hand, artists formed an American aesthetic separate from the traditional methodologies in Europe, in turn, contributing to a national identity. After the Civil War, the United States underwent considerable change as different areas of the nation redefined themselves in conjunction to new laws and shifts in social structure. For the Luminists, the writings of Emerson concerning nature were especially applicable during this time since most people in the United States lived in rural circumstances and still struggled to define a national art separate from European tradition. Emerson focused on nature's ability to uplift and inspire mankind, bringing them closer to the Divine and America's unique and untamed nature was one aspect that separated it from Europe. The Luminists focused on their surrounding natural environment, portraying the connection between man and nature. During the Progressive Age, Robert Henri followed Emerson's instruction to illustrate life as it existed for him in the early twentieth century. By this time, most people had moved to the cities in search of employment and everyone was crammed into small tenements. Henri taught his art students to value and illustrate life in all of its gritty reality. In this way, he followed Emerson to communicate beauty through an honest interpretation of life. Although diverse in their techniques, the Luminists and Robert Henri both utilized the ideas of Emerson to help define an American aesthetic.
10
Cunliffe-Charlesworth, Hilary. "The Royal College of Art : its influence on education, art and design 1900-1950." Thesis, Sheffield Hallam University, 1991. http://shura.shu.ac.uk/3144/.
Повний текст джерелаАнотація:
The Royal College of Art is considered through its teaching of art and design, and its work as a centre for the training of art teachers. The ideas of some of the staff are evaluated with regard to the need for art and design education. The influence of the diplomates of the College on the areas of education, art and design is appraised with a view to assessing the value of the work of the College. The relevance of government bodies to the Royal College of Art is examined in some detail, notably the Board and Ministry of Education, the Board of Trade and the Treasury. The relationship between the Civil Servants and the College Principals, Visitors and College Council are considered. The extent to which the College was prevented from achieving its original aims and objectives is explored. This is appraised together with examples of criticism the College received from government circles and external bodies. How such criticism was adapted for future educational policy at the College is also noted. When the Royal College of Art obtained independence from the Ministry of Education the College established its status as a post-graduate institution and was able to address the requirements of modern design education. The Appendices provide details of the Royal College of Art's chronology of events, statistical information and summarised results of a questionnaire given to ex-students.
11
Pavlou, Victoria. "Sixth grade pupils' attitudes to art and the influence of their teachers' art specialisation." Thesis, University College London (University of London), 2003. http://discovery.ucl.ac.uk/10020431/.
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12
Joumaa, Jamal, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The influence of the icon in contemporary Egyptian art." THESIS_CAESS_CAR_JOUMAA_J.xml, 2002. http://handle.uws.edu.au:8081/1959.7/229.
Повний текст джерелаАнотація:
The icon represents a great part of the heritage of Christian arts in Egypt. In this thesis the early stages of iconic art are studied to find out the influential factors leading to the formation of the icon as it is now. The Coptic icon in particular is studied, both the icon itself and how it differs from the Byzantine icon. The religious factor is focussed on as an effective and modelling element in defining the icon, and the symbols are studied in order to go back to their historical roots. This study also aims at tracing the phenomenon of iconic art, by studying its characteristics and the works themselves and by clarifiying the iconic symbols as part of the cultural and creative activity. The important artworks in iconic art are analysed, and the effect of iconic art on human and social life is shownMaster of Arts (Hons)
13
Dawson, Jane. "Visceral and behavioural responses to modern art : influence of expertise, type of art and context." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/30240/.
Повний текст джерелаАнотація:
Art is one of life’s great joys, whether beautiful, ugly, sublime or shocking. Whilst neuroimaging studies using visual art as stimuli have yielded a wealth of information regarding aesthetic appreciation and beauty, few have considered a wider range of emotions or the effect of expertise and context. In order to address this three studies were conducted. The first studied the time course of visual, cognitive and emotional processes in response to visual art by investigating the event-related potentials (ERPs) elicited whilst viewing and rating the visceral affect of art, in artists and non-artists. The second, behavioural, study questioned the ecological validity of using reproductions of art. Contextual differences in arousal, aesthetic response, viewing time and memory, were explored. The final study aimed to extend the findings of the first two. Continuous EEG was recorded to explore effects of expertise and context on phase synchrony bands during the contemplation of art in a gallery. Behavioural measures and structured interviews were employed to examine the impact of contemplating art on subjective feelings, mood and memory. A number of negative environmental factors adversely affected collection and validity of the continuous EEG data, which was not considered further. There were three prominent findings. First, looking at art is interesting and rewarding, particularly for experts. It is not dependent on aesthetic preference, although expertise is important regarding the appreciation of abstract art. Second, the response to art is not isolated from the context in which it is experienced, whether the physical context of a gallery vs. laboratory, or original vs. reproduction. Finally, both the prospect of looking at art and contemplation of art, whether original or reproduced, increases calmness and contentedness and decreases alertness, irrespective of expertise. Interest and curiosity are the dominant factors eliciting positive mood and positive emotions. Looking at art is relaxing and is good for you.
14
Joumaa, Jamal. "The influence of the icon in contemporary Egyptian art." Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/229.
Повний текст джерелаАнотація:
The icon represents a great part of the heritage of Christian arts in Egypt. In this thesis the early stages of iconic art are studied to find out the influential factors leading to the formation of the icon as it is now. The Coptic icon in particular is studied, both the icon itself and how it differs from the Byzantine icon. The religious factor is focussed on as an effective and modelling element in defining the icon, and the symbols are studied in order to go back to their historical roots. This study also aims at tracing the phenomenon of iconic art, by studying its characteristics and the works themselves and by clarifiying the iconic symbols as part of the cultural and creative activity. The important artworks in iconic art are analysed, and the effect of iconic art on human and social life is shown
15
Joumaa, Jamal. "The influence of the icon in contemporary Egyptian art." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030506.114529/index.html.
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16
Humbert, Jean-Marcel. "L'égyptomanie : sources, thèmes et symboles : étude de la réutilisation des thèmes décoratifs empruntés à l'Egypte ancienne dans l'art occidental du XVIe siècle à nos jours." Paris 4, 1987. http://www.theses.fr/1987PA040295.
Повний текст джерелаАнотація:
Le catalogue illustré constituant la première partie de cette thèse a été réalisé à partir d'une base de données créée spécialement. Il contient plusieurs milliers de références intégrées à 1370 notices; celles-ci sont classées selon les principaux thèmes de l'histoire de l'art, eux-mêmes regroupés à l'intérieur de six périodes chronologiques. Cet échantillonnage représentatif a permis d'étudier les sources et les composantes de l'égyptomanie selon les époques et les pays, les thèmes égyptiens les plus souvent employés et leur degré d'adaptation, et la part de symbole contenue dans les différents types de créations. L'égyptomanie a pour sources des documents archéologiques, des relations de voyage, des évènements "médiatisés" et de précédentes réalisations égyptisantes; mais l'évolution de la fidélité des interprétations ne suit pas forcement l'amélioration de la connaissance de l'Egypte ancienne. L'étude chronologique met en lumière plusieurs évolutions : au début distraction d'esthète, l'égyptomanie ira se démocratisant; elle profite à partir du XIXe siècle des progrès de l'archéologie; elle trouve continuellement de nouveaux modes d'expression (cinéma, bande dessinée, publicité) et élargit ainsi régulièrement son audience. L'étude thématique des objets et réalisations accueillant l'égyptomanie montre sa faculté d'adaptation et l'influence en retour des styles propres aux époques concernées. Un répertoire des thèmes décoratifs empruntés à l'Egypte ancienne précise ceux qui sont le plus souvent employés. L'objet égyptisant véhicule des symboles issus à la fois de l'Egypte ancienne et de la période de sa création; jouant de nombreux concepts (rêve, peur, rire), l'égyptomanie garde comme l'Egypte un impact fort sur le public. L'égyptomanie est plus qu'une des composantes de l'exotisme et de l'anticomanie; elle constitue un courant à part, aujourd'hui plus vivant et fascinant que jamaisThe catalogue of this thesis has been taken from a data base specially created. Its 1370 notices give thousands of references; the notices are classified according to themes in the course of six chronological periods. Thanks to these selected objects, it has been possible to study the sources and the constituent parts of the Egyptian revival according to periods and countries, to index the Egyptian themes more often used, to measure their degree of adaptation, and to identify the symbols contained in the different creations. The sources of egyptomania are taken from archeological items, travel accounts, exceptional events and former egyptianizing creations; but the evolution of the fidelity of the interpretations doesn’t follow necessarily the increasing of the knowledge of ancient Egypt. The chronological study points out several evolutions: egyptomania, created at the beginning for esthetes’' pleasure, soon becomes democratized; the archeological discovering and publications give new possibilities to it; it can use many new means of expression (movies, cartoons, comic-strips and adverting) and thus increased its audience. The thematic study of the egyptianizing objects and creations shows how easily egyptomania adapts itself and mixes with the style of the period. A repertory of the themes taken from ancient Egypt shows which ones are used most. Egyptianizing items carry lots of symbols from ancient Egypt and from the time of their making; using numerous concepts (dream, fear, laugh), egyptomania, as well as Egypt, has a strong impact on people. The Egyptian revival is more than part of exotism and anticomania; it is an independent current more alive and fascinating to-day than ever
17
Saffaran, Elyas. "Recherches sur l'Iran et la Grèce anciens : éléments artistiques et culturels iraniens (traditions et rapports réciproques avec la Grèce, conservation et restauration)." Limoges, 1996. http://www.theses.fr/1996LIMO2007.
Повний текст джерелаАнотація:
Bien que de nos jours ces deux pays, la grece et l'iran, semblent fort eloignes l'un de l'autre, dans l'antiquite, ils ont ete tres proches l'un de l'autre. . . Malgre cette situation, sur ces grandes civilisations, on a jusqu'a maintenant beaucoup ecrit dans le monde entier, en occident comme en orient ; tous les aspects ont ete abordes. . . Parce que les historiens anciens ont ete conduits a donner de l'une et de l'autre des deux civilisations des images qui ne correspondent pas toujours a la realite strictement objective parce qu'elles sont deformees par la pensee et la propagande politiques. Donc, une etude comparative portant sur les elements artistiques et culturels de ces pays de grande tradition, aujourd'hui bien differents l'un de l'autre, permettra de mieux comprendre ce qui, depuis la plus haute antiquite, les a unis et separes. Ces elements sont la cle de la connaissance approfondie des secrets de ces deux pays de l'antiquite. Donc, on a constate que l'iran et la grece ont, dans leur aire geographique, connu un developpement culturel et artistique tout particulier, qui leur confere une place de premier rang dans le monde ancien et dans l'histoire de l'humanite. La these propose une etude approfondie de l'image structuree des deux civilisations. S'il n'y a pas de vieillesse pour les oeuvres et les elements artistiques et culturels de ces deux civilisations, avec les methodes necessaires (techniques et juridiques), grace aux sciences modernes, aux lois et au droit international, on peut conserver et restaurer les elements culturels et artistiques de ces deux civilisations pour les generations futuresAlthough nowadays these two countries, greece and iran, seem very distant from one another, in antiquity, they were very close. . . In spite of this situation, until now, it has been written a lot about these two civilizations, all over the world, in the west, like in the east. All aspects have been discussed. . . Because the ancient historians have been driven to give pictures of one or the other of these two civilizations, which do not always correspond to the strictly objective reality because they are transformed by the political thinking and the political propaganda. Therefore a comparative study about the artistic and cultural elements of these countries of tradition, which are very different from one another today, will unable us to understand better what, since the remote antiquity, has linked and separated them. These elements are the key to the careful understanding of the secrets of these two countries of the antiquity. It has been then noticed that iran and greece have, in their geographical area, known an artistic and cultural development very peculiar, which gives them a first rank place in the ancient world and in the history of humanity. This thesis deals with a thorough study of the definit image of these two civilizations. Furthermore, if artistic and cultural works and elements of these two civilizations do not grow old, with the methods available (technical and legal), and thanks to modern sciences, laws and international rights, one can keep and restore the cultural and artistic elements of these two civilizations for the next generations
18
Fadorsen, Stephanie Alexandra. "American Art Pottery: Ohio's Influence on Transforming a Local Craft into a World Renowned Fine Art." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342890450.
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19
Guibergia, Béatrice. "Influences plastiques des « arts premiers » de l’Afrique occidentale et centrale." Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10090.
Повний текст джерелаАнотація:
Les « arts premiers », depuis leur découverte par les artistes occidentaux, il y a un siècle, auraient eu une influence prépondérante sur la modernité. L’analyse des formes primitives de l’art africain, par des artistes majeurs comme Matisse, Derain, Picasso, Braque, Modigliani, Klee ou Kandinsky, aurait permis d’insuffler la vitalité nécessaire à des recherches picturales qui devaient changer le cours de l’art au vingtième siècle. Depuis les relations entre l’art contemporain occidental et les sociétés post-coloniales, avec la nécessité des échanges et des communications, auraient évolué vers un métissage esthétique, harmonisant les particularités des cultures. Dans cette dialectique enrichissante s’inscrirait une pratique personnelle, dont le primitivisme plastique et intellectuel serait évalué par une étude des processus de création.
20
Robert, Renaud. "Recherches sur les modèles hellénistiques et l'art romain (du 3ème s. Av. J. -C. à l'époque d'Auguste) : réception, fonction, interprétation." Aix-Marseille 1, 1992. http://www.theses.fr/1993AIX10006.
Повний текст джерелаАнотація:
Le but de ce travail est de preciser certains aspects de l'histoire de la formation d'une reflexion esthetique et d'un art romains, en insistant particulierement sur l'utilisation et l'interpretation des modeles venus du monde grec. La premiere partie est consacree a l'analyse d'un theme iconographique - les galatomachies - representatif des problemes poses par la greffe d'une tradition artistique et ideologique grecque a rome. Cette etude conduit a s'interroger sur la signification des representations triomphales romaines fondees sur l'exaltation du vainqueur par le biais de la representation des souffrances du vaincu. Dans la seconde partie, on a tente de suivre les differentes etapes d'une histoire de la perception des oeuvres d'art a rome. Sont successivement examines les temoignages offerts par plaute, terence, lucilius, varron, virgile et ovide. Ces temoignages refletent a la fois, les preoccupations theoriques, les gouts et la culture artistique du public romainThe aim of this research is to define certain aspects of the forming of roman art and aesthetic thougt, focusing on the use and interpretation of imported greek models. The first section deals with the analysis of an iconographic theme-battles against the gauls-, representative of the problems connected with the adoption of greek artistic tradition and ideology in rome. This study leads to question the meaning of roman triomphal representations based on the glorifiaction of the triompher through the image of the sufferings of his defeated ennemies. In the second section, the dissertation retraces the different historical stages of the perception of works of art in rome, by examining the evidence offered by plautus, terentius, lucilius, varro, virgil and ovid on the theoretical concerns, tastes, and artistic interests of the roman public
21
Daftari, Fereshteh. "The influence of Persian art on Gauguin, Matisse, and Kandinsky /." New York ; London : Garland publ, 1991. http://catalogue.bnf.fr/ark:/12148/cb37423050q.
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22
Gerard, Dubernard-Laurent Annie. "Le pré-raphaélisme en Angleterre, les arts et les lettres en France : essai d'étude comparative." Paris 4, 1996. http://www.theses.fr/1995PA040306.
Повний текст джерелаАнотація:
Le mouvement préraphaélite britannique présente une diversité de facettes qui entretiennent avec certains aspects de la peinture française et de la poésie francophone des rapports à explorer. La présente étude tente de mettre à jour et d'éclairer quelques-uns de ces rapports. Par exemple, elle s'attache à définir les liens et convergences (et aussi les différences) entre le "réalisme" des premières œuvres préraphaélites et le "réalisme" tel que l'entendent courbet et ses contemporains, en prenant en particulier comme thèmes communs la vision du sacré, du travail et des problèmes sociaux. Elle montre comment des "esprits avancés" comme Mérimée, Lecoq de Boisbaudran et Charles Blanc se sont un moment tournés vers l'exemple réformiste anglais (dont on crédite à tort ou à raison les préraphaélites) pour tenter de redéfinir une politique de l'enseignement des arts et de l'organisation des musées. La pénétration des œuvres (peinture et poésie) et des idées d'inspiration préraphaélite est suivie pas à pas au fil des expositions et des comptes rendus de la critique. Quelques répercussions, en particulier de l'œuvre de Burne-Jones, dans des œuvres picturales et chez quelques poètes symbolistes sont aussi analysées. Enfin, il est proposé un essai de synthèse entre les diverses formes de préraphaélisme (germanique, français, britannique)The English pre-Raphaelite movement presents a variety of aspects which have features in common with French painting and poetry. The aim of this study is to bring forward and analyze some of these aspects: for example it tries to show the similarities and differences between the "realism" in the earliest pre-Raphaelite paintings and the French so-called "réalisme" as exemplified by Courbet and some of his contemporaries in their way of portraying the sacred, people at work, and social problems. It shows how avant-gardists such as Merimee, Lecoq de Boisbaudran and Charles Blanc one looked up to British reformists - who they thought were mainly pre-Raphaelites - in the teaching of the arts and the conception of museums. It then goes on to show how pre-Raphaelite works (painting and poetry) and ideas penetrated the French cultural environment through the exhibitions and the press. Burne-Jones's impact on the work of some symbolist poets and painters is also examined. The conclusion suggests a synthesis between various forms of pre-Raphaelitism (German, English and French)
23
Rasmussen, Claire. "Circular Inspirations: Medieval Mediterranean Influence in the Treasury of San Marco." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1556730752971936.
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Samier, Debski Nathalie. "Analyse de l'influence de l'appreciation sur les performances des ressources humaines. Application au tertiaire non marchand." Paris 11, 1997. http://www.theses.fr/1997PA111004.
Повний текст джерелаАнотація:
Apprecier la performance des ressources humaines est une activite fondamentale pour les entreprises, puisque cette ressource assure la contribution la plus importante a leur valeur ajoutee et a leur competivite. Paradoxalement, la mise en oeuvre de l'appreciation ne les satisfait pas, car elles ne constatent pas d'amelioration visible de la performance humaine. Nous nous interrogeons alors sur l'efficacite de l'appreciation a influencer la performance des ressources humaines. Nous cherchons a connaitre les mecanismes nes de l'interaction individu-organisation, par lesquels l'appreciation influence ou n'influence pas la performance, et nous analysons ceux sur lesquels elle n'intervient pas, mais qui contribuent a la competitivite des organisations. Notre demarche hypothetico-deductive nous a conduit a mener une enquete dans le tertiaire non marchand, sur les representations de l'appreciation et de son influence sur la performance, et sur les representations des comportements issus de l'appreciation. Nous constatons tout d'abord des differences entre les vocabulaires designant la performance et ses criteres d'appreciation et ceux que l'organisation utilise. Il apparait une conformite des vocabulaires et des comportements des personnels non-cadres, et chez les professionnels et les cadres, un apprentissage individuel des nouvelles caracteristiques de la performance. Trois groupes de representation de l'influence de l'appreciation emergent egalement: ceux qui constatent une reelle influence de l'appreciation sur leur performance : ceux pour qui l'appreciation est un fort induceur de dysfonctionnements sociaux: et ceux qui ne voient aucun impact positif ou negatif. Par ailleurs, une divergence promotionnelle explique les comportements de contre-performance, mais l'appartenance a un "clan" professionnel marginalise ces comportements. Enfin, lorsque l'influence de l'appreciation est nulle, l'adhesion des individus aux valeurs de l'organisation ou a celles de leur "clan" dappartenance developpe le plus la performance. Ces resultats indiquent finalement l'existence de plusieurs degres d'influence de l'appreciation sur la performance et l'emergence de facteurs exogenes d performancePerformance appraisal is a basic management task because the human resource is considered as the most important factor to the competitiveness of enterprises. Paradoxically, since 1990's, performance appraisal isn't key factor in boosting productivity and development. Then, we wonder about the positive or the negative effect of appraisal on human resources performance, we seek to know also other factors on which it does not intervene, but that contribute to the competitiveness of organizations. We conducted a survey in the non profit tertiary sector on representations of the appraisal and its influence on behaviors. In first, we observed that the vocabulary and the behavior of employees are in accordance with the norm defined by the organization. But the vocabulary and the behavior of managers or professionals are different because their work performance evolved. Furthermore, three groups of representation of the appraisal influence emerged: beneficial influence on performance: negativeinfluence on performance as absenteism, delay or psychological disease: and no influence. Then, we noted some relationship between discrepancy on career and social dysfonctions, except for the professionals. Finally, when there was no influence, some organizational commitment boosted and developed human resources performance
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Nobécourt, Pauline. "Les influences littéraires et cinématographiques de et à travers Marc Desgranchamps." Thesis, Valenciennes, Université Polytechnique Hauts-de-France, 2020. https://ged.uphf.fr/nuxeo/site/esupversions/fda559a4-f3dd-40f9-aba6-7509ca11bb10.
Повний текст джерелаАнотація:
À travers l’oeuvre de Marc Desgrandchamps, la présente thèse s’attache à cerner la manière dont la littérature et le cinéma peuvent agir sur ce que crée un peintre dont la carrière, débutée dans les années 1980, se situe à la charnière du XXe et du XXIe siècle. Notre objectif avec cette étude est de permettre, par cette exploration des liens qui se sont au fil des années construits et consolidés avec d’autres univers et sensibilités, de replacer son oeuvre à l’intérieur d’un certain environnement artistique susceptible de nous renseigner sur des facettes insoupçonnées ou mal connues de son travail. Plus largement, il s’agira aussi en traquant les influences qui le traversent de faire un retour sur la notion même d’influence, dont nous essaierons d’appréhender le rôle dans le processus créatif d’un artisteThrough the art of Marc Desgrandchamps, this present thesis aims to figure out the way literature and cinema act on the creation of a painter whose career, initiated in the eighties, takes place at the turning point of two centuries. The main goal that guides our investigations into the relationships he has established with other visual universes and other views of the world is to replace his work inside a certain artistic context that will shed some light on aspects not yet fully understood of his art. In a more general way, by uncovering the influences which operate in his creation, the purpose we are pursuing is to review the very issue of influence. To grasp its role in the creative process is a question that lies at the heart of our subject matter
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Chraptavičiūtė, Diana. "DAILĖS ĮTAKA IKIMOKYKLINIO AMŽIAUS VAIKŲ DOROVINGUMO FORMAVIMUI." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060602_112327-26217.
Повний текст джерелаАнотація:
The author of the work: Diana Chraptavičiūtė
Subject of the work: The influence of the fine arts on the morality formation of preschool children.
The place of the preparation of the work: Department of Professional Pedagogics and Psychology, Lithuanian Agricultural University, Academy, 2005-2005.
The work includes: 2 tables, 30 pictures, 6 Appendices.
Total amount of pages: 87.
Referents: 73.
The object of research: morality formation by mean of the fine arts in preschool children of age of 5-7 years old, which attend kinder garden.
The methods that were used:
• Analysis of pedagogical, psychological, and scientific literature;
• Questioning by means of questionnaires designed specifically for parent, teachers, and oral interview-for children;
• Analysis of drawings dedicated for the closest people;
• Drawing of nonexistent animal;
• The processing of statistical data by using software SPSS v. 9.
The results of the research were as follows:
• The children attending the kinder garden with an inclination towards arts, ETIUDAS, are of higher morality than those who attend conventional kinder gardens, which were under investigation. The children from Catholic kinder garden usually take neutral position among all that were investigated. The children from the kinder garden ĄŽUOLIUKAS, which fosters inclinations towards sports, usually take neutral position in most of the situations, though, sometimes, they show negative reactions towards other people.
• The age has no influence... [to full text]
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Dogbe, Buckner Komla. "The influence of African sculpture on British art 1910 to 1930." Thesis, University of St Andrews, 1988. http://hdl.handle.net/10023/7118.
Повний текст джерелаАнотація:
This thesis aims to discuss the influence of African wood sculpture on British art from 1910 to 1930. It proposes that the works, tastes and pronouncements of various 20th century British artists betray this influence and that although the British artists did not initially understand the conceptual foundations of African sculpture their limited knowledge was just sufficient for the modernization of British art through the adaptation of the formal qualities of African art. In assessing the validity of these propositions the thesis examines the factors and issues that facilitated the influence. Chapter 1 discusses the formal qualities of African wood sculpture that attracted the British artists. It outlines the unusual figural proportions, the free and direct use of planar, linear and solid geometry, the treatment of material and its surfaces. The conceptual foundations of African sculpture are generally outlined in Chapter 2. The extent to which the British artists understood these foundations is also discussed. Chapter 3 concerns the introduction of African sculpture to Britain and discusses the development of the anthropological and subsequent aesthetic interest that it aroused. Both the Post-Impressionist Exhibitions and the Omega Workshops which facilitated its influence are examined. Chapter 4 examines the concept and attempts to categorize the nature of this influence. The last three chapters act as case studies in which the impact of African sculpture on Epstein, Gaudier-Brzeska and Henry Moore is examined. The conclusion discusses the term 'Primitive' and the British artists and the 'Primitive'.
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Chayama, Yuri. "The Influence of Modern Art on Toru Takemitsu's Works for Piano." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/268593.
Повний текст джерелаАнотація:
This study examines the influence of Modern Art on the piano compositions of Toru Takemitsu (1930-1996) to demonstrate how he was inspired by visual art and integrated its ideas into his music. From his youth, Takemitsu was aware of the relationship between music and visual art, exploring different genres, especially Surrealist poetry and modern painting, as well as Japanese gardens, then harmonizing and incorporating these ideas within his music. In doing so, he established his own philosophy and musical structure, combining colorful sonorities with spatial effects of timelessness, which became cornerstones of his music. This document explores and identifies ideas from Modern Art - primarily visual works of Paul Klee, Odilon Redon, Kagaku Murakami, and other Surrealists - that Takemitsu adapted and wove into his compositions to create visual imagery, rich in color, within his music. The use of these ideas is discussed in an analysis of two of Takemitsu's most profound and mature solo piano works, Les Yeux Clos - In Memory of Shuzo Takiguchi (1979) and Les Yeux Clos II (1989), both inspired by Odilon Redon's series of paintings, entitled Les Yeux Clos (1890).Following Chapter I, the introduction, Chapter II discusses Takemitsu's early influences, film music, legacy, and contribution to society. Chapter III examines Takemitsu's encounter with Surrealism and the four artists– Shuzo Takiguchi, Paul Klee, Odilon Redon, and Kagaku Murakami - that influenced him the most by demonstrating the importance of breaking with convention and freely exploring one's inner world. Chapter IV identifies the principles and ideas of Modern Art and Surrealism that appealed to Takemitsu, and how he adapted them into his compositions. The ideas fall into four categories: philosophy, structure, color, and space. Chapter V presents original analyses of two solo piano works, Les Yeux Clos and Les Yeux Clos II, demonstrating how the principles and ideas of different art forms are integrated into Takemitsu's works. Concluding remarks in Chapter VI include a brief discussion of how an understanding of Takemitsu's complex artistic journey can deepen a performer's understanding and interpretation of Les Yeux Clos and Les Yeux Clos II.
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Du, Crest Xavier. "Paris-Constantinople (1851-1949) : un siècle de relations artistiques entre la France et la Turquie." Strasbourg 2, 2006. http://www.theses.fr/2006STR20055.
Повний текст джерелаАнотація:
A Constantinople entre 1851 et 1949, le décorateur Charles Séchan (1803-1874) au palais de Dolmabahçe (1851-1859), le peintre Pierre Désiré Guillemet (1827-1878) à la cour du sultan (1865-1878), l’archéologue André Joubin (1868-1944) au Musée Impérial Ottoman (1893-1898), le journaliste et salonnier Régis Delbeuf (1854-1911) dans les colonnes du Stamboul (1901 et 1902) et le peintre Léopold Lévy (1882-1966) à l’Académie des Beaux-Arts d’Istanbul (1936-1949), auxquels il faut ajouter l’érudit levantin Adolphe Thalasso (1857-1919) et sa critique de l’art turc en France, sont les premiers et les principaux ambassadeurs de l’art et de la culture française sur les rives du Bosphore. Les archives (familiales, nationales, etc. ) et autres sources imprimées comme la presse française de Turquie donnent à lire leur rôle prépondérant dans ce siècle de relations artistiques entre la France et la Turquie, désormais fondées sur la connaissance mais encore, grâce au dialogue, sur la reconnaissanceIn Constantinople between 1851 and 1949, the decorator Charles Séchan (1803-1874) at the Dolmabahçe Palace (1851-1859), the painter Pierre Désiré Guillemet (1827-1878) at the sultan’s court (1865-1878), the archeologist André Joubin (1868-1944) at the Ottoman Imperial Museum (1893-1898), the journalist Régis Delbeuf (1854-1911) in the Stamboul (1901 and 1902) and the painter Léopold Lévy (1882-1966) at the Fine-Arts Academy of Istanbul (1936-1949), without forgetting the Levantine scholar Adolphe Thalasso (1857-1919) and his critic of the Turkish art in France, are the leading ambassadors of French art and culture on the Bosphore banks. The archives (private, public, etc. ) and other printed sources like the french press of Turkey show their predominant role in this century of artistic relations between France and Turkey, now based on knowledge but also, with dialog, on acknowledgement
30
Twell, Mary Tudor. "The Influence of Flamenco on Selected Works of Picasso." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc332484/.
Повний текст джерелаАнотація:
This thesis investigates, analyzes, and discusses Picasso's imagery in the cultural context of the nineteenth-century Spanish tradition of flamenco. Two published photographs featuring the elderly artist with the gypsy guitarist Manitas de Plata initiated the study, and led me to the conclusion that selected works by Picasso were influenced psychologically, thematically, and formally by his youth which was spent in the Andalusian province of Malaga and later in Barcelona. Picasso's early artistic education occurred at precisely the same time and place as The Golden Age of Flamenco in Spain, a cultural phenomenon that profoundly affected both his life and art.
31
Wolfe, Mary Melissa. "The Influence of Ethnography on the Indian Portraits of Elbridge Ayer Burbank." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392019638.
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White, Steven Robert. "A confluence of thinking: The influence of 20th century art history on American landscape architecture." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278634.
Повний текст джерелаАнотація:
Since beginning my graduate studies in landscape architecture, I have encountered many situations in class in which references to art were used. I discovered a connection in the usage of the jargon of art in landscape architecture study. People, for the most part, do not know what landscape architects do or who we are. In this thesis I will make the case for aligning the profession of landscape architecture with the fine arts and humanities. An art history component in the curriculum and education and training of landscape architects would augment their design and presentation skills in the workplace. I have included the results of a survey questionnaire that I sent to 65 landscape architecture teaching faculty representing 38 landscape architecture programs in the United States. These individuals held either a Bachelor of Fine Arts degree, a Master of Fine Arts degree, or they had a scholarly research interest in art.
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Heine, Martin Alfons. "Versus the vox populi reflections on the practice of art as a quest for liberation /." Connect to full text, 2003. http://hdl.handle.net/2123/640.
Повний текст джерелаАнотація:
Thesis (Ph. D.)--University of Sydney, 2004.Title from title screen (viewed 5 May 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Sydney College of the Arts. Degree awarded 2004; thesis submitted 2003. Includes bibliographical references. Also available in print form.
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Manuel, Ann Marie. "The influence of principals in art program promotion in Newfoundland secondary schools." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28172.
Повний текст джерелаАнотація:
The purpose of this study was to determine, from principals' viewpoints, why art courses have or have not been offered in Newfoundland secondary schools. The underlying premise of the study is that if the reasons for non-implementation of secondary art programs are to be assessed, information needs to be collected on the extent to which relevant factors and groups actually influence the administrators in the process of art program adoption. The study employed an ex post facto research design using survey research procedures. The survey was conducted using a questionnaire which was administered to two hundred and fifty one secondary school principals in Newfoundland.
The results of the study show that the principal is a key person influencing the decision making process involved in art program adoption. The unavailability of a trained teacher, the availability of funds and the principal's attitude toward the art program are the three factors with greatest influence in this decision making process. The findings also show that the adoption of art programs has been slowed by problems inherent in rural education. These problems are compounded by the structure of Newfoundland's denominational education system. Implications of these results for policy development and evaluation are discussed and suggestions for further research are outlined.Education, Faculty of
Graduate
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Silveira, Sarita. "The influence of mental frames on the neurocognitive processing of visual art." Diss., Ludwig-Maximilians-Universität München, 2014. http://nbn-resolving.de/urn:nbn:de:bvb:19-170101.
Повний текст джерела
36
Schum, Joshua F. "The influence of digital technology on the narrative of American art museums." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397650.
Повний текст джерелаАнотація:
Digital technology is a pervasive aspect of contemporary society and its influence on narrative has been profound. In the realm of museums digital technology is significantly altering the way museums create and disseminate narrative. Using survey research, this study examines the influence of digital technology on the narrative of American art museums. By surveying museum professionals working in American art museums narrative and technological trends can be identified. This research presents three major findings. First, museum professionals identify American art museums as narrative environments. Second, American art museums are using digital technologies for narrative purposes. Third, digital technology has directly influenced the narrative of American art museums. Recommendations for further areas of study are suggested based on the findings of this research.Department of Telecommunications
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Frumkin, Beverly Ann. "The influence of the art of Antonio Gaudí on the work of Joan Miró /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63764.
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Morse, Meredith. "Shake a pan of nails : Simone Forti's art of movement and sound after Cage and Halprin." Phd thesis, Department of Art History and Film Studies, 2012. http://hdl.handle.net/2123/13674.
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Denholm, Michael. "Art magazines in Australia, 1963-1990 : a study of values, influence and patronage." Thesis, Canberra, ACT : The Australian National University, 1994. http://hdl.handle.net/1885/139448.
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Zhu, Ying. "Evidence of existing knowledge of China and its influence on European art and architecture in the sixteenth and seventeenth centuries." Diss., Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/37096.
Повний текст джерелаАнотація:
This dissertation investigates the extent of knowledge of China in Europe and, more particularly, Chinese influence on European art and architecture in the sixteenth and seventeenth centuries. It attempts to answer the following questions:
1. What visual and literature resources on China and Chinese art in Europe were available in the sixteenth and seventeenth centuries?
2. To which extent was there any understanding of Chinese art and architecture in Europe in the sixteenth and seventeenth centuries?
3. To which extent might this understanding have affected European art and architecture in the sixteenth and seventeenth centuries?
Although European contacts with China began in the early sixteenth century, few scholars have touched on the evidence that exists of the extent of European knowledge of Chinese architecture before 1720, even on the possible impact of the Chinese architectural designs that were depicted on Chinese porcelains and other merchandise imported into Europe for two centuries before that date. This dissertation examines the evidence for the employment of new and differing aesthetics derived from Chinese artifacts and then assimilated in European art, architecture and landscape in the sixteenth and seventeenth centuries.
After examining the variety of resources from which the new aesthetics derived from Chinese artifacts imported into Europe was evolved, the dissertation analyzes Chinese influence in different nations in an order which follows the most consistently open and effective communications to the Far East.
In the process, the dissertation quotes the contemporary historical descriptions of those Chinese artifacts as well as attempting to identify their influence on European art and architecture, thus providing evidence that the interaction between China and Europe served as subtle but active, generative force in European art throughout the period.
In sum, the thesis attempts to explore the European understanding of Chinese art in the sixteenth and seventeenth centuries and to examine the consequences of that influence as they were reflected in European art and architecture. It analyzes some of the most influential and related social, political, and religious aspects that acted as powerful stimuli, which in turn affected in the growth of Chinese influence on European art, architecture and landscape.
This dissertation thus attempts to push back the significance of the Chinese influence on aspects of European artistic styles from the accepted date of the early eighteenth century to the seventeenth and even earlier - the sixteenth century.
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Bernier, Yolande. "Genshoku : parfums d'origine pour les Œuvres de la terre." Master's thesis, Université Laval, 2013. http://hdl.handle.net/20.500.11794/24717.
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Hutchins, Katharine. "Choreographing Modernity: Loïe Fuller and Her Influence on the Arts." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/75.
Повний текст джерелаАнотація:
This thesis, which studies the effect Loïe Fuller had on artists at the turn of the 20th century, redefines her role in art and society. An American dancer born in 1862, Fuller is often hailed as one of the forefathers of modern dance and a technological engineer, but she is too rarely shown in control of how the audience perceived her. This work gives an overview of Art Nouveau and the Universal Exposition of 1900 in Paris in which she performed. It closely examines her impact on painters, illustrators, and lithographers: Henri de Toulouse-Lautrec, Will Bradley, and Jules Cheret. It also studies her influence on sculptors: Raoul Larche, Agathon Léonard, and Pierre Roche; architect Henri Sauvage, and writer Stéphane Mallarmé. In this work, Fuller is not solely presented as the physical embodiment of Art Nouveau but as an active shaper of artistic movements of her time. It portrays her as active rather than passive.
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Mottram, J. "Critical concepts and change in painting : The relationship of influence." Thesis, Manchester Metropolitan University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383647.
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Jenkins, Kyle. "The cold war : the politics of being inside and outside a visual art space." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/3966.
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Brewin, Julie. "An exploration of the influence of the acculturation process on an artist's practice and the implications for education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2003. https://ro.ecu.edu.au/theses/1482.
Повний текст джерелаАнотація:
This Creative Arts Project investigates the relationship between expression in the visual arts and the process of acculturation. The focus of the study is my personal negotiation of this process. The descriptive study is about engagement with the organic world and its past and present dialogues within the ongoing process of acculturation. I have explored the connection between nature, culture and art using a phenomenological research method. The propositions that we do not see things as they are; we see things as we are (Talmud), and that as visual artists we are the 'architects of our own experience', (Eisner, 2001) are explored. The reflexive nature of visual arts activity is acknowledged and the impact of cultural influences and natural environment on the choice of subject matter is examined. My investigation of a new physical environment is facilitated through the medium of a third cultural aesthetic that makes reference to the art and design of Japan. The Project is divided into two parts. Part one is the thematic exhibition and part two is this exegesis that explains and supports the research. Documentation of the project also takes the form of visual diaries that record phenomena and explain design development through drawing and painting. The main research question is directed towards evidence of the reflexive nature of the acculturation process as manifested in the work of the researcher. It is: How is the process of acculturation manifested in the visual artworks of the individual who has entered a new physical and cultural environment? Whilst acknowledging that the acculturation process is unique to the individual I believe that phenomenon experienced in this way has value in classroom practice. Therefore the secondary question is: What implication does this have for the visual arts curriculum? The significance of this Creative Arts Project for the visual arts curriculum is seen in the interaction of culture, personal experience and environment as integral parts of the creative process. Through my own process I have found that there are connections between past and present life-worlds that influence expression in the visual arts. Heritage and experience of the natural environment are linked to this process. Exploration of these phenomena within the classroom may lead to a clearer understanding of the nuances of a new physical environment. This research has been influential in the development and production of curriculum material for a Western Australian educational institution. The materials are displayed as part of the thematic exhibition. It is hoped that the publicising of this research may be seen as having value for the development of a multicultural visual arts curriculum.
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Kannar-Lichtenberger, Lea. "Anthropocene: Human Influence on Evolution and the Biosphere." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/14429.
Повний текст джерелаАнотація:
Through my art investigations I work to bring awareness to the public in order to create understanding of the issues surrounding the human impact on the environment and its long term effects. Further to the island investigations I will be explore evolution and how the Anthropocene is influencing plant selection and behaviour. This is done through the microscopic window of Bio-Art using the Dandelion and Tree Dandelion as my metaphors for the environmental changes that are occurring. The artworks at the centre of this enquiry will consist of (but are not exclusive to) photographic, video, projection, installation, Perspex, ceramic and sculpture. My final examination works include 1 hanging work Corpses from the Everyday, measured, colour coded and catalogued plastic debris from Lord Howe Island, printed in continuous text on vinyl 360 x 500 cm. Two installations, one Towards Dystopia is a combination of plastic/ Perspex, water, text and ceramics. Water Installation, film and sound; ceramics, Perspex Petri dish, Perspex fish tank, transparent piping, fountain pump, clear plastic sheeting, beach debris collected from Lord Howe Island, highly salted water and a tea urn. Size varies 2015 Perspex is vital to the works that I am producing, reflecting the connection we have to this product of the oil industry which is having such wide reaching impact. Gagged is a 3 piece video installation showing performance artist Molly Morphew anthropomorphizing the bird as described in the text by Carl Safina, this performance was videoed from 3 different angles and all three are displayed in larger than life scale. Sounds of gagging are heard overlapping as the performance loops, the text from Gyre the Plastic Ocean by Carl Safina (copyright obtained) is included in the installation.
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Smith, Helen. "Artist as navigator : understanding how the social qualities of art influence organizational change : a methodology for art as a social practice." Thesis, Robert Gordon University, 2015. http://hdl.handle.net/10059/1377.
Повний текст джерелаАнотація:
• What insights can art reveal in the context of organizational change? • How do artistic practices influence the way communities address change? • In what ways can an individual artistic practice concerned with the role of art in society add new insights to theories and practices of contemporary art? These questions are approached through three interrelated methods. In the first the artist as researcher consciously addresses organizational change through her artistic practice, over a three year period, within the different communities of Woodend Barn, a volunteer-led arts centre in the North East of Scotland. The second method is a literature review focusing on the selected artistic practices of Allan Kaprow, Suzanne Lacy and Artist Placement Group. Each practice is discussed in relation to the underpinning philosophical principals of Pragmatism, in particular John Dewey’s ideas on the generative qualities of aesthetic experience. These insights inform the research as it unfolds within the organizational context of Woodend Barn, itself at a point of significant change. The third method draws on anthropologist Michel de Certeau’s theory of the act of speaking to define the details of social interaction. This leads to a conversational method of analysis that draws out the synergies and differences of the chairperson of Woodend Barn and the artist. The analysis aims to understand the qualities and conditions for social interaction in arts practice and how they affect change in organizational contexts. It has become apparent that a key condition of the artwork is an artist who is committed to a refined and informed understanding of the social dynamics of art (as evidenced in the two principal projects Fold (2012) and Lavender (2012-2014)). It is important to recognize that not all artists have these skills or are interested in adopting a social focus in their practice. The research sets out to address and influence new generations of artists and more broadly, to rethink the value of social interaction in artists practices in relation to economic values. Understanding how social interactions become generative sense-making experiences is an important quality of the practice and research findings. This resonates with Dewey’s theory that it is through the unconstrained characteristics of art that aesthetic experience can shift deeply- rooted ways of thinking. The research concludes with a social manifesto for art that outlines the conditions for individuals from different communities to act in ways that are self-directed and lead to community resilience.
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Grubbs, Jeffrey Bryan. "Teacher Belief Research in Art Education: Analyzing a Church of Christ Christian College Art Educator Beliefs and their Influence on Teaching." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284733542.
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Pieri, Giuliana. "The influence of English Pre-Raphaelitism on 19th-century Italian art and literature." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313182.
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Jones, Lisa. "Knowing fiction : a philosophical exploration of the cognitive influence of fictional narrative art." Thesis, University of Liverpool, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402404.
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