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Taking as its starting point the anti-monumental stance of much Post-minimalist sculpture, my research investigates alternative paradigms for sculptural practice, drawing on the decorative traditions of provisional and temporary objects made for ceremonies and celebrations (including bunting, balloons, tablecloths, banners etc.) / In order to find a way of creating sculptural works that are formally flexible and mutable, but that also connect with the symbolism emanating from such vernacular celebrations; I have turned to studying objects that are separate to, yet which 'surround', those located within the 'fine art' sculptural tradition. The pageant, feast, religious occasion and personal celebration are examples of symbolic events which necessitate the manufacture of decorations, costumes and props. Often these objects are ephemeral, in being made from materials such as flowers, textiles, or food, and are meant to be discarded or consumed. Sometimes they have a cyclical or 'seasonal' aspect - in terms of their temporality - in being able to be repeatedly used and then packed away. The characteristics of such deployment, and the emphasis on the manner in which these objects transform an environment tie them to many key aspects within both modernist and postmodernist visual art practice (whether within Minimalism, Arte Povera, for Neo-concretism). / Special occasions have a shared symbolic language that is intimately understood by most people across a wide diversity of cultures; while in requiring the production of objects as 'accessories', decorations or props, they also share many basic elements of what might be called a 'formal vocabulary' or language. / This research focuses on the formal conventions and structures of the material culture of special occasions; the sculptural language of the streamer, pageant float, tinsel, birthday cake, and balloon. With the 'expansion of the sculptural field' and the loss of confidence in the signifying capacity of the tradition of the monumental within public art, artists have increasingly turned to exploring other forms and types of symbolic language, as a way of engaging anew with communal commemoration and celebration - whether on large or domestic scale (illustrated ephemeral, performative and domestic materials and processes in contemporary art. / Also of interest is the tradition of display and spectacle inherent in protest marches and rallies. Very often the formal elements of trade union parades, suffragette marches and mass demonstrations utilise a similar formal language to parties and pageants. The ability of such festive structures to carry and even advance an ideological cause is intriguing, and provides a point from which to begin to speculate on how 'personal ideologies', obsessions, and intense psychological and emotional affects might be drawn upon to create a visual language (or formal system) that can operate in non-literal, highly associative ways - whilst providing a meaningful point of reference for viewers. / A selection of artists included in this research: Thomas Hirschhorn, Eva Hesse, Robert Morris, Matthew Barney, Jeff Koons, Helio Oticica, Polly Apfelbaum, Lygia Clark and Tracy Emin. / The research has been conducted within several overlapping fields - art history, contemporary cultural theory, visual art practice and literature, and cultural anthropology - which have provided useful points of critical reference, source material and interpretive paradigms. Nevertheless, the focus has been upon 'special occasion objects' within the western tradition (with Australia viewed as a post-colonial European nation), with particular reference to positions within the Minimalist and Post-minimalist contemporary visual art practice. / This research utilises an Action Research methodology which provides a useful paradigm for understanding and developing the relation between artistic experimentation and production, critical analysis and personal reflection characteristic of studio-based research. The thesis will take the form of an exhibition of art work and an accompanying ten thousand work exegesis. / Thesis (MVisualArts)--University of South Australia, 2006.

Thesis (doctoral)--Universität Rostock.

During the late 19th century, a number of large marble eyes were discovered near the Athenian naval facilities at Zea. Although initially published as the eyes of ancient Greek warships, many scholars have doubted the validity of this attribution. A range of hypotheses have been presented in attempts both to discredit the notion that they are ship eyes, and to re-classify these objects. Recent excavations of a Classical Period merchantman at TektaŸ Burnu uncovered a pair of marble discs that again raise questions relating to the identity of the marble eyes from Zea. A review of alternative hypotheses relating to the identity of these objects based on textual, archaeological, and representational evidence, coupled with technical analyses of their construction, form, and decoration, leads to the conclusion that the marble eyes discovered at Zea, as well as the objects from TektaŸ Burnu, adorned the bows of ancient Greek ships between the 5th and the 3rd centuries BC. Evidence for the function of these objects is found in the works of Greek authors who show that the eyes of ancient ships marked the presence of a supernatural consciousness that guided the ship and helped to avoid hazards. Studies of eye representations on Archaic and Classical Greek domestic articles and parallels in architectural decoration suggest that ship eyes may have also worked as apotropaions to counter forces such as envy. As early as the 5th century BC Greek and Latin authors attest to a fear and understanding of envy's destructive power, which was believed to attack through the actions of both gods and mortals. Theories related to the use of eyes as apotropaions that could counter envy are presented based on analysis of material from the Archaic and Classical Periods. Links are made between Hellenistic and Roman mariners and their fear of this force, which was expressed in their use of devices that functioned to protect them from its ill effects. It is possible that ship eyes in ancient Greece served as both epiphanies and apotropaions used to counter envy.

Wallace Stevens (1879-1955) is probably the greatest and most prolific exponent of purist estheticism in all of American letters. Born in Reading, Pennsylvania, his first book of poetry, Harmonium (1923) won him the respect and admiration of his fellow writers, but brought him little popular acclaim and less remuneration. His career as a poet spanned four decades, the 1923 volume being followed by Ideas 2( Order (1935); The Man with the Blue Guitar (1937); Parts of â World (1942); Transport to Symmer (1947); The Auroras gt Autumn (1950); The Necessary Angel (a collection of essa7s, 1951); The Collected Poems of Wallace Stevens (1954); and Opus Posthumous (a miscellany of poems, plays, and prose works, edited by Samuel French Morse, 1957). Unlike most of his contemporaries, Stevens chose to divide his time between the world of poetry and that of business, keeping in the process very much to himself, and refusing to mix with literary or academie society. From 1916 to his death in 1955, he was associated with the Hartford Accident and Indemnity Company, of which he became vice-president in 1934. [...]

The Viking Age town Birka has since long been a central part of archaeological studies and excavations in Sweden. It has brought much light and information about the people living there from the late 8th century to the late 10th century. The purpose of this thesis is to explore the decorated spears found in a selected number of Birka's chamber graves to see if any visual traces of religious expressions are present. The spears and their context will then be put into contrast with the clear patterns of the worship of Odin in Birka's Garrison area and religious studies from pre-Christian Scandinavia. This is done in the hopes of shedding some light on the spear’s relevance in the Viking Age's culture and religious contexts.

No description available.

本文主要研究十九世紀末二十世紀初的一種傳統民間藝術--年畫。這短短的幾十年見證了在中國發生的一系列翻天覆地的社會政治變化：清政府的垮臺，外國勢力的入侵，以及西方先進技術與思想的引入；這些變化我們都可以在這一時期的年畫中找到。本文的地點範圍主要集中于天津楊柳青，另外其他中國北方的年畫產地的年畫，如武強、楊家埠，以及江蘇的桃花塢等，也會在文章因行文需要而被提到。總的來說，本文分為三個大部份，也就是年畫的生產、內容和消費。我認為這些新內容之所以在年畫中出現主要有三個原因：首先，西方先進印刷技術和新的繪畫風格的引入讓年畫內容的轉變有了可能性；其次一些維新人士創辦的畫報和報刊也對年畫的發展產生了影響；最後便是民初時期民國政府採取的對年畫的干涉。本文將這些在年畫中出現的新的主題進行了詳細的探討。一方面，我們可以發現反帝和其他愛國的內容被放入年畫，以此激發百姓的愛國情緒。與傳統年畫主要關注家庭這一點不同的是，改良年畫的重心放在了保衛國家這個更高的主題上。另一方面，在這類年畫中，婦女不再被認為是男人的附屬品，它們鼓勵婦女實現經濟和人格上的獨立，並且有必要的話，也可以成為士兵，加入到保家衛國的行列中。最後一方面，西方先進事物的引入，如鐘錶、自行車、火車和飛機等，為大眾引領了一種新的物質文化，也在不知不覺中改變中百姓的日常生活習慣。作為結論，我提出改良年畫是大眾文化和精英文化互動產生的結果。它們大多數都是在民國政府的提倡之下而生產的，但是年畫的商業本質決定了它需要有一定的市場以保證盈利。這樣，傳統年畫的形式被保留了下來，同時改革家和當權者為其填入了新的思想和觀念，用來教育廣大百姓。這種“舊瓶裝新酒的宣傳方式雖然效果在清末民初效果不佳，但是它卻在某種程度上為中國作為一個現代國家的出現奠定了基礎。 / This research examines nianhua年畫 (New Year pictures), a form of traditional folk art, from the late nineteenth to the early twentieth centuries. This time period witnessed a series of dramatic social and political changes in China: the collapse of Qing Dynasty, invasions of foreign powers, and introduction of Western advanced technologies and ideas, all of which could be found in nianhua prints. The spatial focus is mainly on Yangliuqing楊柳青, a town very close to Tianjin. However, nianhua produced in other places in North China, such as Wuqiang武強 and Yangjiabu楊家埠, and those from Taohuawu桃花塢 in the Yangzi River Delta, will also be mentioned, for some of them are of great use in my writings. Generally, this study has three sections: the production and circulation of nianhua in Yangliuqing, the contents of nianhua with new elements, and how common people reacted to the reformed nianhua. I demonstrate that the import of Western advanced printing technologies and painting styles, pictorials and vernacular newspapers published by social reformers, and the involvement of Republican government were the major reasons for the appearance of new elements in nianhua. Then the new themes in nianhua are discussed in details. First of all, anti-imperialist and other patriotic topics are found to arouse nationalist sentiments among the masses. The emotions in new nianhua started to shift from protecting home and family to defending the nation. At the same time, women were no longer treated as men’s subordinate; instead, they were also encouraged to earn their own bread and even go to the battlefield to save their country. Finally, the imports of Western inventions, such as clocks, bikes, trains, and planes, emerged in nianhua, building a new material culture for the common people. I conclude that reformed nianhua was a result of the interaction between popular culture and elite culture. Most of them were advocated by the Republican officials; but the commercial nature of nianhua determined that it needed to have market amog consumers. The form of traditional nianhua was kept, while social reformers and authorities fill new values and beliefs into it to educate the common people. This “new-wine-in-old-bottles way of propaganda resulted in limited success; but to some extents it paved the way for the emergence of a modern nation. / Detailed summary in vernacular field only. / Wan, Mi. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 150-159). / Abstracts also in Chinese. / List of Figures --- p.v / Chapter Chapter 1 --- Introduction --- p.1 / Chapter 1.1 --- Statement of Research Problem --- p.1 / Chapter 1.2 --- Nianhua: The Background --- p.6 / Chapter 1.3 --- Methodology --- p.8 / Chapter 1.4 --- Literature Review --- p.13 / Chapter 1.5 --- Structure of the Thesis --- p.22 / Chapter Chapter 2 --- From Festivity to Propaganda: Nianhua’s Political and Educational Roles --- p.24 / Chapter 2.1 --- The Production and Circulation of Nianhua in North China --- p.25 / Chapter 2.2 --- The Influence of Printing Technical Improvement and Western Painting Styles on Nianhua --- p.32 / Chapter 2.3 --- Nianhua and Social Reform Promoters in the Late Qing --- p.41 / Chapter 2.4 --- Nianhua as a Popular Education Tool in the Republican Era --- p.53 / Chapter Chapter 3 --- From Protecting My Home to Defending My Nation: Nationalism in Nianhua --- p.68 / Chapter 3.1 --- Nation, Nationalism, and National Identity --- p.70 / Chapter 3.2 --- When China Confronted the West --- p.73 / Chapter 3.3 --- Anti-Imperialism in Nianhua --- p.83 / Chapter 3.4 --- Attitudes towards the Qing Government --- p.90 / Chapter Chapter 4 --- Gender in Nianhua --- p.95 / Chapter 4.1 --- Women’s Appearance and Female Warriors in Nianhua --- p.98 / Chapter 4.2 --- Promotion of Women’s Education in Nianhua --- p.106 / Chapter Chapter 5 --- Import of Western Objects and Interpretation of the Western World --- p.119 / Chapter 5.1 --- The Clock --- p.119 / Chapter 5.2 --- The Bicycle --- p.125 / Chapter 5.3 --- The Plane --- p.128 / Chapter 5.4 --- The Train --- p.130 / Chapter Chapter 6 --- Conclusion --- p.138 / Bibliography --- p.150

<p>Abstract</p><p>The aim of this study is to describe similarities and differences in the inscriptions of runestones in</p><p>today's county of Kronoberg, the former county of Värend and, in addition, a part of the former</p><p>county of Sunnerbo. The study is based on 27 remaining runestones which are analysed through</p><p>choice of words and runes, orthography and decorations.</p><p>The section of choice of words and runes are categorised and based on the choice of choosing</p><p>one particular word over another and of choosing one particular rune over another. Orthography is</p><p>based on the spelling of five particular words; efter, sten, reste, hjälpe and och. Monophtongisation</p><p>is discussed and analysed. The section of decorations has two subsections; 1) crucifixes and</p><p>”suns”, and 2) other forms of decoration.</p><p>The study showed that the runestones had some significant numbers of similarities and</p><p>differences. The study also showed that the option of choosing one word, or rune, over another was</p><p>probably a conscious choice made by the runic inscriber himself. The spelling of the five words</p><p>revealed a limited number of spelling choices, and that monophtongisation had occurred in some</p><p>words. The majority of the runestones had some form of decoration, usually a crucifix, which were</p><p>categorised. However, attribution could only be made in a few cases, due to the limited amount of</p><p>criteria used.</p><p>Keywords: crucifixes, decorations, Kronoberg, monophtongisation, runes, runestones, Sunnerbo,</p><p>Värend</p>