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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.

New utopia

Matsubara, Mayumi January 2008 (has links)
When I observed Japan from a distance for the first time, I found a similarity between Japanese society and the idea of 'Utopia, 1 and I became interested in society as subject matter. Researching Plato and Thomas More's ideas of 'utopia 1 was the starting point of my research. When I realized Utopia is indeed a place without freedom, I became interested in the other 'possible world/ a world different from our reality. I have been obsessed with the idea, and I began making artworks related to the idea. 'Heterotopia 1 seemed to have a strong connection with the 'possible world, 1 and Michel Foucault became essential for my theoretical study. I spent a year researching on the theory, which later became the foundation of my studio practice. Along with these theoretical studies, I researched photographs of children which were related to the subject of my digital practice. By analyzing the work, I developed and understanding my practice. I improved the interdisciplinary aspects of my work by researching related artworks and films, and developed advanced techniques in digital media and collage. After studying the theory and writing the proposal for the Professional Doctorate programme, I found it difficult time for me to organize my ideas and relate these thoughts to my practice. The critical reviews helped me to reconsider my work and its presentation. While concentrating on my study and practice, I collaborated with other artists and designers in professional practice. I also curated a group exhibition, and the experience expanded my art practice in a new way.

Acts of writing : writings on contemporary performance

Allsopp, Richard David January 2000 (has links)
The work published between 1991-2000 and presented here forms a continuing meditation on, and exploration of contemporary performance. The term 'contemporary performance' is used to refer to practices and discourses in the performance arts that have occurred over the last decade. There Is a particular emphasis on those unstable, hybrid and interdisciplinary areas of performance (including performance art, installation, 'new' dance, 'experimental' theatre, 'live' art) which resist easy definition or categorisation, and which may be further characterised as postmodern in the sense of a reflexive, contextualised and knowingly problematic practice. More specifically the work builds a sustained thesis on contemporary practice and addresses in a number ways some of the central Issues surrounding the placing and practice of performance. It focuses on relationships between performance, textuality, the body, and spatiality; as well as on Issues of context, framing and the place of performance in contemporary culture. The work engages with a number key terms applied to contemporary performance Including ephemerality, displacement, equivalence and ecology, which contribute to the central thesis that contemporary performance Is an unsettled yet always contextualised practice which resists fixities and holds itself between a condition of fragmentation and integration. Contemporary performance is considered from a number of points of view: " as performance: where the events and relationships which constitute performance can be documented and mapped; " as contextuaiised practice: where the conditions that enable or disable performance can be identified; " as process : where the dynamics and media of performance can be situated; " as site : where the frames, surfaces and boundaries of performance can be examined; 7 Acts of Writing - Ric Allsopp (July zooo) Abstract " as ecology: where the Internal and external Interdependencies of performance can be Identified; " as a problematic: where the terms and assumptions that constitute a reading of performance can be Identified and analysed. Two key ideas inform the thesis that emerges from the work: firstly the recognition of an ethical stance towards performance; and secondly the search for a methodology which can disclose the dynamics of performance. The'acts of writing' are seen as an active as well as reflective methodology - an engagement with the event of performance understood as a located, contextualised practice. The published work presented here sets out some of the underlying conditions and methodologies from which my work in the field of contemporary performance proceeds. As a thesis It provides sustained evidence of a 'multiple practice' - that is a set of practices and engagements in the field of research that explore what might be termed the 'ecology' of contemporary performance from various positions. This multiple practice Is a way of locating the work and of attempting to realise an ethical stance towards performance. The recognition that the conditions of contemporary performance depend on an Interdependency of contexts and that performance situates Itself as an unstable catalyst that oscillates between these contexts has enabled me to locate my research into contemporary performance In the variety of ways evidenced by the published output collected here.

'Burning the box of beautiful things' : Ark magazine & the development of a 'postmodern sensibility' at the Royal College of Art: 1950-1962

Seago, Alex January 1990 (has links)
No description available.

Haunted tropicality : gothic motifs and melancholic imagery toward an aesthetics of darkness

Campoli, Alessandra January 2011 (has links)
"Haunted Tropicality: Gothic Motifs and Melancholic Imagery toward an Aesthetics of Darkness" is a practice-based research on the language of the Gothic in an intercultural perspective, and on its application in the specific visual artistic context. The theoretical part of this dissertation focuses on an analysis of dark imagery in Thailand and how it is manifest in contemporary culture through its most representative expressions: the haunted aesthetics of urban and natural space; oral tradition; and contemporary horror cinema. Through living, narrating and representing the dark side, the peculiar imagery of Thai Gothic takes on a precise shape in which the three elements coexist and merge, each indissolubly linked to the other, all of them pervaded by a peculiar mood of melancholy. Melancholy indeed seems to be the key to access Thai Gothic and to understand a series of topics, images and feelings that repeatedly occur in approaching this theme. The exploration of the concepts of Gothic and melancholy - in their wider meanings and in a transcultural perspective - thus constitute the first chapter of this work, introducing the following three chapters devoted to space, myth and cinema, The rich lexicon of motifs resulting from the theoretical analysis of Thai Gothic has then been extrapolated, transformed, experienced and elaborated in a purely aesthetic and symbolic manner, as a tool for creating a specific visual language materializing in the artistic work that constitutes the practice part of the thesis. Employing as visual media a combination of photography, video and performance, the artwork resulting from this research - and presented in the last chapter of the work - is a reflection on the complexity of the real and unreal, on the coexistence of different layers of reality - some visible, others only guessed at - and on the idea of melancholy as ephemeral (in bodies and places), as a reversal, as a matrix of desire in the extreme loneliness of loss.

Inspiring creativity : creating edge effects through partnerships with museums, galleries and arts practitioners

Lee, P. C. January 2007 (has links)
No description available.

The appreciation of painting

Armstrong, John Anthony January 1996 (has links)
No description available.

Robert Willis and the rise of architectural history

Buchanan, Alexandrina Caroline January 1994 (has links)
This thesis is an examination of the contribution of the English scholar, Robert Willis (1800-1875) to the discipline of architectural history. Willis's writings are set within a context of nineteenth-century antiquarian scholarship and their methodology and conclusions explored and evaluated. the work i not treated as a conventional biography, for reasons given in the Introduction, but divided into sections dealing with the different types of work produced by Wilils. chapter One examines Willis's first architectural work, Remarks on the Architecture of the Middle Ages, especially of Italy, (1835). This is discussed in relation to a tradition of 'scientific' antiquarianism which includes such scholars as James Essex, Thomas Kerrich, Thomas Rickman and William Whewell. The influence of Whewell's study of German gothic on Willis's approach is assessed and the differences between the two works considered in terms of the contrasting concerns of German Idealism and French Rationalism as well as WIllis's stated aim of discovering principles of gothic design to be used in nineteenth-century architectural practice. The book's role in the revival of gothic is appraised and also the relationship between Willis's principles and the 'true principles' of A.W.N. Pugin. Chapter Two looks at another attempt by Willis to discover the principles of gothic design by studying the vaults of the middle ages. the formation of a language in which to speak of gothic vaults is described and the various ways in which they were classified. With reference to unpublished notes from the Cambridge archive, I endeavour to explain how the study of individual features led Willis to become dissatisfied with the methodology of gothic 'system builders', who were concerned primarily with the abstract progression of styles. Chapter Three examines Willis's alternative to the theoretical history of architecture, expressed in the series of architectural histories of individual cathedrals produced for the British Archaeological Association (founded in 1843), and thereafter the Archaeological Institute. The history of the study of documentary and structural evidence relating to buildings and Willis's estimation of their relative value is explored. The Architectural History of Canterbury Cathedral, Willis's first such study, is described in detail to demonstrate his use of data and strategies of argumentation. Thereafter particular elements of his methodology are treated with respect to examples of their employment in the subsequent histories. Chapter Four is a study of some of Willis's 'minor' works, on architectural nomenclature, seals, the church of the Holy Sepulchre in Jerusalem and his editions of the St. Gall plan and the sketchbook of Villard de Honnecourt. they are discussed in terms of how Willis responded to previous scholarship, his own concerns and the use made of works by their various audiences. This demonstrates how Willis's intention in writing did not necessarily correspond to the response of the readership and the influence of a work was not always coincident with its inherent worth. In Chapter Five I discuss Willis's practical involvement in architecture at various levels. Examples are listed of his acting as an architectural consultant and his role in the restoration of Ely cathedral is examined in detail. His philosophy of restoration is explained and contrasted with those or Ruskin and Viollet-le-Duc, two other individuals whose influence in England was rather through their ideas than actual activity. I also consider the role of antiquarian scholarship in the practice of architecture in the nineteenth century and the different estimations by contemporary architects of the value of Willis's contribution. Chapter Six treat Willis's final architectural study, The Architectural History of the Conventual Buildings of Christ Church Canterbury, and The Architectural History of the University of Cambridge, which was published after his death with substantial additions by his nephew, John Willis Clark. The works are similar in their concentration on the study of plans. The Canterbury work is set within a context of the archaeology and interpretation of conventual architecture and I investigate the part played by Willis in the identification of the standard location of the various offices. The Cambridge project developed over many years and I examine Willis's changing views on the relationship between the monastic and collegiate plans as well as discussing the political circumstances in which Willis was writing, which made any investigation of University history an inevitably controversial activity. The final chapter attempts to review the influence of Willis on the modern discipline of architectural history, showing how his methodology and conclusions were transferred and raising questions about his continued relevance. Appendices discuss the evidence for Willis's unfinished magnum opus and reproduce a series of unpublished notes on restoration.

Secular fresco painting at the court of Galeazzo Maria Sforza, 1466-1476

Welch, Evelyn Kathleen Samuels January 1987 (has links)
No description available.

The artist's roles : searching for self portraiture in the seventeenth century Netherlands

Griffey, Erin January 2001 (has links)
No description available.

The educated eye and the industrial hand : art and design for the working classes in mid-Victorian Britain

Denis, Rafael Cardoso January 1995 (has links)
No description available.

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