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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.
21

Visual Function and Visual Disability in Glaucoma

Nelson, Patricia 1999 (has links)
No description available.
22

Entkunstung : artistic models for the end of art

Stakemeier, K. 2012 (has links)
Entkunstung is a term coined by philosopher Theodor W. Adorno to describe the disintegrating influences of mass culture on the production and reception of modern art. It characterises what he understands as the fate of art in the 20th century, the dissolution of boundaries between its media as well as between art and other cultural productions. In my thesis I discuss this process not as a fate but rather as an enabling principle of artistic production since the beginning of the 20th century. I delineate a history of Entkunstung, a history of artists who attempted to desert the field of art in reconstructing its means and materials in accordance with the popular culture of their time and its schemes of production. Starting from the productivist artistic approaches of the Russian Revolution and their understanding of art’s possible dissolution into a general characteristic of a revolutionized form of industrial labour, I proceed to discuss the practices of a group of architects, artists and critics who introduced practices of popular culture into the arts in Western Europe in the early 1950s. The London-based Independent Group’s exhibitions, discussions and works, I argue, operate as actualizations of the practices of Russian Productivism in an altered political and economic context. The figure of "actualization" (from Walter Benjamin’s Arcades Project) is a central methodological principle of my project. Benjamin introduces it to critique historical narratives of progress and replace them with the notion of history in flux, a web of figures in actualization. He suggests that historical moments are never sublated within their aftermaths but reappear in unresolved and still open aspects. I consider the actualisations of Productivism in, first, the affirmation of American popular culture in the Independent Group, and second, in the "dematerialising'" practices in American Conceptual art in the 1960s. Where Production Art sought to assimilate artistic to industrial practices, and the Independent Group explored the implications of consumerist models for art production, certain Conceptual practices aimed at disassembling art into a set of practices and performed gestures, into an action in and also outside of art. The thesis seeks to assemble the fragments of a history of Entkunstung, a history of artistic models for the end of art.
23

Studio International magazine : tales from Peter Townsend's editorial papers 1965-75

Melvin, J. C. 2013 (has links)
When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlook. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965- 1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise. Reise’s work with the Minimalists cemented their reputations in the UK. Seth Siegelaub, the innovative New York art dealer guest edited the exhibition in the July/August 1970 issue. Harrison’s support of Conceptual art led to SI May 1971, an exhibition venture with the New York Culture Center. McEwen was responsible for the Fish issue, May 1974. Peter Townsend’s papers are the only known surviving papers in the magazine’s history. They are independent of the publication and provide off- scene accounts into the commissions. Leads found in Townsend’s archive trace connections to other archives which led to interviews. In interviews and archives often it is the anecdotal story that raises circumstantial evidence giving fuel to reconsider familiar accounts.
24

Making with spider silk : the entangled processes of human and nonhuman animals

Morgan, E. 2013 (has links)
This research examines the history of human uses of spider silk to reassess the relationship between 'natural' and 'artificial' processes of making. It is guided by two questions: (1) How do forms and materials made by nonhuman animals affect human making? and (2) How are the properties of materials differently perceived and used by humans? My aim is to examine making as a process across species. This research makes an original contribution to knowledge in two specific areas. Firstly, in my art practice I have worked with spiders and spider silk to empirically examine historical claims and descriptions, and to create new sites of human/spider making through performances, sound recordings and videos. The second contribution has been my use of interviews and personal correspondence, which has revealed information on the uses of spider silk that did not exist in the current literature. This enriches our understanding of these techniques and highlights instances of human and spider engagement. The thesis is divided into five uses of spider silk: lining, weaving, layering, vibrating and mimicking. The research is interdisciplinary, drawing from entomology, anthropology, art history, cultural theory and my own artistic practice. Through these investigations, I argue that the making of objects cannot be fully understood through either a focus on human intention (pre-conceived idea of an object) or what the properties of the material allows. Rather, in response to recent attempts to move towards a non-anthropocentric approach to materials, the thesis argues that attention should also be given to the action of nonhuman animals in processes of making.
25

MUVE (Museum of Ventriloquial Objects) : reconfiguring voice agency in the liminality of the verbal and the vocal

Malacart, L. 2011 (has links)
This project aims at reconfiguring power and agency in voice representation using the metaphor of ventriloquism. The analysis departs from ‘ventriloquial objects’, mostly moving image, housed in a fictional museum, MUVE. The museum’s architecture is metaphoric and reflects a critical approach couched in liminality. A ‘pseudo-fictional’ voice precedes and complements the ‘theoretical’ voice in the main body of work. After the Fiction, an introductory chapter defines the specific role that the trope of ventriloquism is going to fulfill in context. If the voice is already defined by liminality, between inside and outside the body, equally, a liminal trajectory can be found in the functional distinction between the verbal (emphasis on a semantic message) and the vocal (emphasis on sonorous properties) in the utterance. This liminal trajectory is harnessed along three specific moments corresponding to the three main chapters. They also represent the themes that define the museum rooms journeyed by the fictional visitor. Her encounters with the objects provide a context for the analysis and my practice is fully integrated in the analysis with two films (Voicings, Mi Piace). Chapter 1 addresses the chasm between the scripted voice and the utterance using the notion of inner speech, leading into a discussion about the role of the inner voice, not as silent vocalisation but as a fundamental cognitive tool that precedes writing. Chapter 2 discusses hermeneutics in the progressive breakdown of the semantic component in the voice, using translation as the site where politics and economics converge with aesthetics. With performance, the discussion broadens into performativity and the political aspects of agency in speech. With Chapter 3 the analysis shifts towards ventriloquial objects whose vocal component is more prominent than the semantic. Singing is considered from a gender perspective, as well as from the materialistic viewpoint of the recording medium.
26

Patronage and the theological integrity of Ethiopian Orthodox sacred paintings in present day Addis Ababa, Ethiopia

Johnson, Edwin Hamilton 2011 (has links)
No description available.
27

Surface attraction : hyphological encounters with the films of David Lynch

Mactaggart, Allister 2006 (has links)
How does one turn a cinematic passion into an academic thesis? This is the question that runs through my work, which is both a labour of love and a series of love letters. Does one, can one, tell the truth about one's love object? Written in solitude about the darkened passions of the cinema, and the commodified reenactment via DVD and video, it seeks to locate this body of work, organized under the signifier David Lynch, within a broader cultural history of film and art, rather than, as so many chronologically based studies have done, to assess the individual films and then collectively to remark upon the auteur's signature. Instead, it seeks to experience again, or anew, the ontological strangeness of film within the saturated market place, and observe how, in this body of work, the normative framework of the North American film industry is disturbed from inside by a practice which explores and critically examines the creative potential of the medium within the constraints of the capitalist mode of production and consumption. Taking Roland Barthes' neologism of the theory of the text as a hyphology as its means of organization, the thesis presents a series of chapters which consider separate concepts or ideas about these films which, although appearing freestanding, come together in the final chapter in this web of engagement with Lynch's cinema and critical theory. In the final analysis, the work reflects upon a range of approaches to its subject to conclude that the solitary, or seemingly isolated, experience of film is itself socially, culturally and politically important and tells us a great deal about contemporary subjectivity.
28

The culture of curating and the curating of culture(s) : the development of contemporary curatorial discourse in Europe and North America since 1987

O'Neill, Paul 2007 (has links)
Centred on the development of discussions around independent curatorial practice from 1987 to 2007 - a time of expanded understanding of the role of the curator - this dissertation illustrates how curatorial discourse has generated a significant body of knowledge within contemporary art discourses. This research has both theoretical and practical outcomes, represented within a dissertation that is divided into three parts: 1. An historical survey of key developments within curatorial practice and discourse, forming the main body of text in three chapters. 2. Four exhibition projects realised and analysed alongside this research (with Power Point presentation submitted as Appendix Two). 3. Forty-four original interviews with leading curators, artist-curators, exhibition historians, critic-curators, graduates from curatorial training programmes and leaders of these courses working between 1987 and 2007 (Appendix One). 1. Chapter One reveals how, with the first appearance of independent exhibition-makers, `demystification' of the curatorial position offered a critique of artistic autonomy in the late 1960s. It illustrates how curating became a form of self-presentation with the `curator-as- auteur' in the late 1980s, and how the `super-visibility' of a new generation of curators took place in the mid-to-late 1990s when curatorial debates and published anthologies began to appear as a way of correcting gaps in historical curatorial knowledge. Chapter Two traces the globalisation of Curating in the context of biennials and large-scale international exhibitions from 1989 to 2006. It considers how, since `Les Magiciens de la Terre' in 1989, curators have embraced globalism, transculturalism and a move towards collective models of curating. Chapter Three expands on the concept of the `curator«a bst' and reveals a convergence of istic and curatorial practice in the 1990s, which provides a theoretical hacktop to the Practical component of this research project. 2. Employing a curatorial strategy of dividing an exhibition into three spatial categories - the background, the middle-ground and the foreground - four related exhibitions were realised as practical examples of how differences between collaborative and authorial structures converge in processes of co-production. These exhibitions reflect upon the dominant issues of the theoretical research in order to practically demonstrate how the group exhibition is based on organisational structures that are the results of co-operation between artists and the curator(s), leading to co-authored exhibition formations. 3. Interviews represent the methodological approach employed as the main means of gathering knowledge and provide the primary basis of the analysis of key issues emerging during this period. They not only establish an historical trajectory for curatorial practice but also allow identification of key moments of historical conjuncture within the field. Through an examination of interview transcripts alongside literature published between 1987 and 2007 and the four inter-connected exhibitions, this research re-evaluates the relationship between artist(s) and curator(s) by demonstrating how the group exhibition form has become a creative medium of communication in and of itself.
29

Urban utopias in Havana's representations : an interdisciplinary analysis

Rodríguez-Falcón, Olga 2008 (has links)
This investigation consists of an interdisciplinary analysis of photographic, cinematographic, architectural and literary documents representing the city of Havana in Cuba during different periods of the twentieth century. These periods are: the decade of the Great Depression; the 1950s during the rapid growth of the tourist industry in the island; the first fifteen years following the 1959 Cuban Revolution; and the so-called 'Special Period' during the 1990s, following the collapse of the Soviet Union. It was during these periods that the city went through very important transformations due to historical and cultural contingencies. These contingencies refer to the beginnings of the development of the city as a tourist centre, the first debates and cultural manifestations related to the Afro-Cuban traditions in the island, the post - 1959 evolutionary processes and the effects of the end of the Cold War on the city. The documents analysed have been drawn firstly from cultural productions made by Cubans: Cuban filmography and photography pre- and post-1959. Secondly, there are also those documents produced by non-Cubans, mainly Hollywood productions and other types of representation, which have also contributed greatly to create a particular image of Havana. An important part of this analysis also includes the architectural particularities of the city, with an emphasis on the symbology of some of its main buildings, such as the Capitolio and the National Hotel. This analysis relates the dominant visual tropes of the Cuban capital with more generic discourses regarding the tradition of utopian thought in the West and their embodiment in the image of the modern city. The diverse archival documents discussed throughout this thesis reflect recurrent themes that have characterised this tradition: the contemporary ideal of a harmonious multicultural society; the romanticisation of the 'old city' as a visual reminder of our 'non-capitalist' past and the utopianism associated with the dichotomy between work and leisure and between the diurnal and the nocturnal. Most of these themes can be found as forming part of the discourse on the national in Cuba, also characterised by a deep utopianism. The thesis examines the social and cultural history of Havana in order to analyse how the different documents have reflected, or even contributed, to the construction and problematisation of a Cuban national identity, while at the same time making testimony of the existence in the city of different cultural traditions. This has necessarily involved a reflection on the dynamics between the two main cultural traditions present in Havana: the Euro-Cuban and the Afro-Cuban. This thesis proposes that the cultural battles between the African, European and North American traditions in the city have been decisive in the modern re-fashioning of Havana as a museum-city, facilitating the predominantly nostalgic character of its most recent representations. This investigation also takes into account the crucial role of the city's spatial gendrification - the position of women within the urban space - when describing Havana's utopian representations. Finally, the interdisciplinary character of this thesis contributes to the analyses of the cultural history of cities as well as the relevance of the visual in the recreations of modern urban life and its relations to the narratives of the national.
30

Politics, theology, and Cambridge Platonism : the Trinity and ethical community in the thought of Ralph Cudworth

Carter, Benjamin Huw 2004 (has links)
This thesis is an examination of the influence of theological ideas on the development of liberal political philosophy in the seventeenth century. The basis of this account will be a detailed exanlination of the ethical and political ideas in the published and unpublished writings of the Cambridge Platonist, Ralph Cudworth. As the reputation of the Cambridge Platonists as other-worldly thinkers is well established in intellectual history, this thesis, in rejecting this common view, will examine how this image of the Cambridge Platonists came to prevail. I will argue that, when the Cambridge Platonists are viewed within their philosophical, theological and historical context, their thought contains a powerful critique of contemporary theological and political ideas. By a detailed analysis of Cudworth's theology, in particular his Trinitarianism, I will argue that Cudworth creates a sophisticated defence of political society based on the moral self-deternlination and political responsibility of the individual. Cudworth's defence of the political realm is deflned by his belief in the democratic revelation made to all men, in the form of reason, through the active power of a Neoplatonically understood Trinity. Cudworth allows for a political society (what I term an ethical community) in which the individual must make the most of his God-given potential, and in which the eternal and immutable truths in the intellect of God, and not the will of the sovereign, underpin the legitimacy and efficacy of that society. Cudworth's thought, far from being the apolitical system it is often assumed to be, provided ethical and political arguments which were, I argue, very influential on the late-seventeenth century debates for toleration and comprehension, and in particular the role played by the Latitudinarian divines in those debates. What we find in Cudworth's thought is a defence of the self-determining power of the individual which is defined by, and grows directly out of, a Trinitarian understanding of reality. This thesis will therefore show the way in which liberal political principles can be identified as growing positively out of the theological debates of tlle late-seventeenth century.

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