Дисертації з теми "Modernism (Art) Penis in art"
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Galati, Gabriela. "Duchamp meets Turing : art, modernism, posthuman." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/6609.
Повний текст джерелаSharp, Neil. "Modernity, art and art education in Britain, 1870-1940." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285129.
Повний текст джерелаPark, Jeong-Ae. "Modernism and postmodernism in contemporary Korean art : implications for art education reform." Thesis, Roehampton University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362641.
Повний текст джерелаChristie, James. "Fredric Jameson and the art of Modernism." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/60251/.
Повний текст джерелаTrodd, Tamara Jane. "Mediums and technologies of art beyond modernism." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1446623/.
Повний текст джерелаMatthews, Carrie McGowan John. "Articulations of anarchist modernism putting art to work /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1438.
Повний текст джерелаTitle from electronic title page (viewed Apr. 25, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: English; Department/School: English.
Mentan, Julia Elizabeth. "Beyond art and politics : voices of Spanish modernism /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/6661.
Повний текст джерелаHulks, David. "Adrian Stokes and the changing object of art." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246431.
Повний текст джерелаHincks, Anthony. "Modernism and the crisis in art : the structure of fine art practice : a sociological account." Thesis, University of Leicester, 1988. http://hdl.handle.net/2381/34519.
Повний текст джерелаKrakenberg, Jasmin. "Gothic art and German modernism Max Beckmann and "Transzendente objektivitat" /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4265.
Повний текст джерелаThe entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (December 13, 2006) Includes bibliographical references.
Godfrey, Mark Benjamin. "The memory of Modernism abstract art and the Holocaust /." Online version, 2002. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.395783.
Повний текст джерелаGodfrey, Mark. "The memory of Modernism : abstract art and the Holocaust." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395783.
Повний текст джерелаMcKnight, Justine. "Redefining The Art Experience : From Static To Temporal Art Forms." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1450.
Повний текст джерелаMonk, Craig. "Transition magazine and the development and transmission of modernism." Thesis, University of Oxford, 1996. https://ora.ox.ac.uk/objects/uuid:8cb82896-5c0f-4209-96ad-fe82fa58afae.
Повний текст джерелаBlair, Sean. "Permanent novelty." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5125.
Повний текст джерелаTitle from document title page. Document formatted into pages; contains vi, 38 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 36-38).
Edmonson, Patricia K. "The tension between art and industry the Art-In-Trades Club of New York, 1906-1935 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 121 p, 2008. http://proquest.umi.com/pqdweb?did=1605134201&sid=3&Fmt=2&clientId=8331&RQT=309&VName=PQD.
Повний текст джерелаMillward, William. "Abstract painting the development and analysis of innovative processes." Saarbrücken VDM Verlag Dr. Müller, 2003. http://d-nb.info/990055116/04.
Повний текст джерелаGarcía, Ramón. "Chicano representation and the strategies of modernism /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820853.
Повний текст джерелаCosgrove, Mary. "Paul Henry and Irish modernism." Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243622.
Повний текст джерелаEstrada-Berg, Victoria. "Art Criticism and the Gendering of Lee Bontecou's Art, ca. 1959 - 1964." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc5587/.
Повний текст джерелаMcLeod, Allan. "Bad gestalt : the dialectics of modernism in London, 1945-1960." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285112.
Повний текст джерелаEkman, Franciska. "En demokratiserad modernism : i dialog av Jean Prouvé, Charlotte Perriand, Le Corbusier." Thesis, Gotland University, Institution 2, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-484.
Повний текст джерелаMålet är att få en bättre kunskap om Jean Prouvé och hans arbete, att förevisa om hans vikt i arkitektur- och designhistorien samt att upplysa om de idéer och ideal som var bakomliggande. En diskussion med några konkreta exempel förs runt det samarbete han närde med Le Corbusier och Charlotte Perriand. Detta tycks ha varit avgörande i mognaden och utvecklingen av hans stil och produktion.
The aim of this essay is to acquire a better understanding of Jean Prouvé’s work and of the importance his production had in the fields of architecture and design. It also aims to represent the ideas and principles that were underlying. A discussion is held about the professional collaboration Prouvé nourished with Le Corbusier and Charlotte Perriand by stating specific examples since it seems as relevant in the evolution of Prouvé’s production and style.
Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.
Повний текст джерелаFaulkner, S. "A cultural economy of British art : 1958-1966." Thesis, Manchester Metropolitan University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284879.
Повний текст джерелаOttley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." University of Sydney, 2007. http://hdl.handle.net/2123/2254.
Повний текст джерелаGrace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
Balcerek, Katherine Emma. "The Whitney Museum of American Art gender, museum display, and modernism /." NCSU, 2010. http://www.lib.ncsu.edu/theses/available/etd-04012010-131832/.
Повний текст джерелаCarpenter, Lisa. "Folk into Art: John Fahey, Modernism and the American Folk Revival." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1516639659.
Повний текст джерелаGrinchtein, Olga. "Portraits of Sculptors in Modernism." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-443240.
Повний текст джерелаBuchanan, D. A. "Aesthetics, art and Utopia : the philosophical significance of the discourse of aesthetics." Thesis, University of Reading, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296698.
Повний текст джерелаMao, Jianxiong. "A study about the "cultural orientation" in Chinese avant-garde art." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1346.
Повний текст джерелаTitle from document title page. Document formatted into pages; contains iii, 50 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 35-36).
Akpang, Clement Emeka. "Nigerian modernism(s) 1900-1960 and the cultural ramifications of the found object in art." Thesis, University of Bedfordshire, 2016. http://hdl.handle.net/10547/621830.
Повний текст джерелаLien, Anthony Marcus. "Against the grain : modernism and the American art song, 1900 to 1950 /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.
Повний текст джерелаMcComb, Don E. "Mediating modernism : the expert discourse on art and advertising in the 1920s." Diss., University of Iowa, 1994. https://ir.uiowa.edu/etd/5357.
Повний текст джерелаReece-Hughes, Shirley (Shirley Ellen). "Arthur Garfield Dove's landscape assemblages: a unique intersection of European modernism, American ideas, and nature-based abstraction." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc798472/.
Повний текст джерелаApte, Savita. "Unchallenged dichotomies : modernism and the Progressive Group in India." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504469.
Повний текст джерелаZhu, Chenlu (Cindy). "Searching For A Graspable Past: Landscapes, Nostalgia, And Chinese Contemporary Art." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1311.
Повний текст джерелаGibson, Jeffrey Lanham. "The early high-rise in Germany a study in modernism and the creation of a modern metropolis /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487859313347215.
Повний текст джерелаDahlin, Kenneth C. "The Aesthetics of Frank Lloyd Wright's Organic Architecture| Hegel, Japanese Art, and Modernism." Thesis, The University of Wisconsin - Milwaukee, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13422325.
Повний текст джерелаThe goal of this dissertation is to write the theory of organic architecture which Wright himself did not write. This is done through a comparison with GWF Hegel’s philosophy of art to help position Wright’s theory of organic architecture and clarify his architectural aesthetic. Contemporary theories of organicism do not address the aesthetic basis of organic architecture as theorized and practiced by Wright, and the focus of this dissertation will be to fill part of this gap. Wright’s organic theory was rooted in nineteenth-century Idealist philosophy where the aim of art is not the imitation of nature but the creation of beautiful objects which invite contemplation and express freedom. Wright perceived this quality in Japanese art and wove it into his organic theory.
This project is organized into three main categories from which Wright’s own works and writings of organic architecture are framed, two of which are affinities of his views and one which, by its contrast, provides additional definition. The second chapter, Foundation, lays the philosophical or metaphysical foundation and is a comparison of Hegel’s philosophy of art, including his Romantic stage of architecture, with Wright’s own theory. The third chapter, Formalism, relates the affinity between Japanese art and Wright’s own designs. Three case studies are here included, showing their correlation. The fourth chapter, Filter, contrasts early twentieth-century Modernist architecture with Wright’s own organicism. This provides a greater definition to Wright’s organicism as it takes clues from Wright’s own sense of discrimination between the contemporary modernism he saw and his own architecture. These three chapters lead to the proposal of a model theory of organic architecture in chapter five which is a structured theory of organic architecture with both historical and contemporary merit. This serves to provide a greater understanding of Wright’s form of the organic as an aesthetically based system, both in historic context, and as relevant for contemporary discourse.
Fisher, Melanie T. "Hungarian ethos and international modernism in the art of B'ela K'ad'ar (1877-1956)." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1387379816.
Повний текст джерелаTimmer, Cornelis. "Modernism and fragmentation /." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030908.132615/index.html.
Повний текст джерелаBouchon, François. "GRILLE ET COMPLEXITE. : Analyse de l'entrecroisement régulier de lignes dans l'histoire de l'art." Phd thesis, Université Jean Monnet - Saint-Etienne, 2011. http://tel.archives-ouvertes.fr/tel-00690877.
Повний текст джерелаGabriel, Clara Gonzalez de Miranda. "Equipo Crónica : a case study on the art work as an "object of criticism"." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21211.
Повний текст джерелаThe relevance of such an examination lies in how their intentions to create a new relationship between art and society is still pertinent today in modern Spain. Since the death of Franco in 1975 there has been a feeling in Spain that the eyes of the world have been on its new democracy, leading to a campaign, led until recently by the Socialist government, to prove Spain is a modern state that has recuperated from 40 years of isolation. It has tried to demonstrate that it is progressive, not only economically and technologically, but culturally. Over the last twenty years a veritable culture industry has boomed in Spain which has been generously backed by its federal and regional governments. As Spain zealously and rapidly finds its place in the globalized multinational world order, I will demonstrate that the issues of identity pertinent to Equipo Cronica, and the tactics they used to address it, can still contribute a critical position to present-day discussions.
Reishus, John William. "Demarcating space : barriers and screens." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864906.
Повний текст джерелаDepartment of Art
Kao, Yi-Li. "Chinese poetry and painting in postwar Taiwan : angst and transformation in the negotiation between tradition and modernity /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170230.
Повний текст джерелаVickery, Jonathan Paul. "The dissolution of aesthetic experience : a critical introduction of the minimal art debate 1963-1970." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285868.
Повний текст джерелаBerger, David S. "Modern Paintings of the Prodigal Son: Depictions by James Tissot, Max Slevogt, Giorgio de Chirico, Aaron Douglas, and Max Beckmann, 1882-1949." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1336741954.
Повний текст джерелаMarfella, Claudia. "Art, industrial design, science and popular culture : modernism and cross-disciplinarity in Italy and Great Britain, 1948-1963." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/33746/.
Повний текст джерелаBarwick, Emily Moran. "The John Holmes prick parade." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/2671.
Повний текст джерелаD'Errico, Julia. "The Emergence of the Real in Modernist and Postmodernist Art: Torus Versus Rhizome." Thesis, Boston College, 2020. http://hdl.handle.net/2345/bc-ir:108967.
Повний текст джерелаWhat qualifies a work as distinctly modernist or postmodernist? Moving beyond the idea that modernism and postmodernism are primarily distinguishable on a temporal basis, D’Errico instead argues that the key difference between these two movements lies on a theoretical level. Grounded in a framework of contemporary theory put forth by Žižek, Lacan, Deleuze, and Badiou, D’Errico proposes that the Real-Symbolic relation manifests differently in modernist and postmodernist works; the structural paradigms of the torus and rhizome are helpful to illuminate this fundamental theoretical difference. Expanding on Žižek’s definitions of modernism and postmodernism (from Looking Awry ), D’Errico posits that a torus-shaped Real-Symbolic relation accords with modernism and that a rhizomatic Real-Symbolic relation accords with postmodernism. This interdisciplinary analysis of twentieth-century art mainly focuses on literature, but also invokes poetry, visual art, theatre, and film. Overall, D’Errico dissects the theoretical structures of The Sun Also Rises, Waiting for Godot, The Trial, White Noise, and Caché to qualify the alignment of each with either the modernist or postmodernist canon
Thesis (BA) — Boston College, 2020
Submitted to: Boston College. College of Arts and Sciences
Discipline: Departmental Honors
Discipline: English
Fox, Peter Holden. "Textual apparitions: power, language, and site in the work of Jenny Holzer." Pomona College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,10.
Повний текст джерела