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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.
41

The post-war Japanese avant-garde movements : the distinct phase of anti-art 1954-1970 : Gutai, Neo-Dada, Hi Red Centre and Mono-Ha /

Nakayama, Tomoko. January 2004 (has links) (PDF)
Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005. / Coursework. "November 2004" Bibliography: leaves 118-128.
42

Experimental music after Los Angeles site, power, self, sound /

Moroncini, Barbara Serena, January 2008 (has links)
Thesis (Ph. D.)--UCLA, 2008. / Vita. Includes bibliographical references (leaves 165-179).
43

Judging the avant-garde originality and value in the arts.

Tobin, Richard James, January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1975. / Typescript. Vita. Description based on print version record. Includes bibliographical references.
44

The '85 Movement Avant-garde art in the post-Mao era /

Gao, Minglu. January 1999 (has links)
Thesis (Ph.D.)--Harvard University, 1999. / Adviser: Norman Bryson. Includes bibliographical references.
45

Entre la tradición y la modernidad : el movimiento nicaragüense de vanguardia /

Arellano, Jorge Eduardo. January 1992 (has links)
Texte remanié de: Th. doct.--Facultad de filosofía y letras de la Universidad Complutense de Madrid, 1986. / Notes bibliogr.
46

Re-thinking The Limits Of Architecture Through The Avant-garde Formations During The 1960s: Projections And Receptions In The Context Of Turkey

Savasir, Gokcecicek 01 February 2008 (has links) (PDF)
An inquiry into the voyage of avant-garde within the domains of art and architecture makes it evident that avant-garde is ambiguous in meaning as a word, a term, a phenomenon and a concept. This study aims to decipher avant-garde and to offer a map for its conceptualization in architecture. Taken not as a monolithic statement but as a unitary concept incorporating a number of subjects and formations for granted, in this study, architectural avant-garde is conceptualized as diverse expressions of activated energy of various subjects that reveal completely different attitudes and productions. Unfolding the concept in different dimensions, this study is an endeavor to delve deeper into various layers of theoretical and historical formations / to form a framework for conceptualizing architectural avant-garde through scanning the twentieth-century avant-gardes / to focus on the avant-garde formations of the 1960s by applying this conceptual framework, and the debate on their receptions in the present architectural context of Turkey. Being on the verge of architecture, the avant-gardes during the 1960s, namely Constant Nieuwenhuys, Yona Friedman, Japanese Metabolists, Archigram, Archizoom, and Superstudio, point out that architecture is both an intellectual activity and a physical production. Projections and resonances of these avant-gardes in the Turkish architectural context of the subsequent periods are trail blazed through the expressions of a group of receiving subjects from the Turkish scene of architecture. Hence, this study offers to lay a common ground for debating on the limits of architecture by forming not only the topography of architectural avantgarde in this era, but also a &amp / #8216 / supra-discourse&amp / #8217 / on architectural avant-garde.
47

"The Other Half is Mine": Charlotte Moorman as an Architect of the Avant-Garde

Balkcom, Brittney M. 08 1900 (has links)
Charlotte Moorman (1933–1991) was a Juilliard-trained cellist whose life and work made an indelible mark on the development of the American avant-garde. In her career, Moorman acted as a performer, collaborator, composer, administrator and muse. She solely founded the inaugural New York Avant Garde Festival, and subsequently directed fifteen of these festivals between 1963 and 1980, the feat for which she is most widely acknowledged today. Yet, her revolutionary performance practice, which blurred the lines between her life, her body, and her work, and brought into focus the dynamics of corporeality, the feminine body, female nudity and sexuality, and gendered politics within the contexts of musical performance, has so far escaped serious consideration in the written histories of the American avant-garde. This dissertation describes the nature of Moorman's practice as one that evolved to become inherently and irrevocably embodied, explores how this approach fell at odds with the pervasive avant-garde philosophies of music, and illustrates how her work troubles even a feminist musicological analysis. Further, through a contemporary critique of Moorman's oeuvre which centralizes the social, cultural, and political implications of her body in performance as integral to the work, this project offers a retrospective visibility to the artist which allows for a reframing of her practice as foundational to the aesthetic development of the postwar musical avant-garde. By way of these efforts, Moorman's legacy is presented as one that is both historically significant and vital to current and future musicological discourse.
48

A Changing of the Guard: The Evolution of the French Avant-Garde from Italian Futurism, to Surrealism, to Situationism, to the Writers of the Literary Journal Tel Quel

Papalas, Mary Laura 24 June 2008 (has links)
No description available.
49

Second life of Soviet photomontage, 1935-1980s

Akinsha, Konstantin January 2013 (has links)
This dissertation explores the development of Soviet photomontage from the second half of the 1930s to the end of the 1970s. Until now, the transformation of the modernist medium and its incorporation into the everyday practice of Soviet visual propaganda during and after the Second World War has not attracted much scholarly attention. The firm association of photomontage with the Russian Avant-garde in general, and with Constructivism in particular, has led art historians to disregard the fact that the medium was practised in the USSR until the final days of the Soviet system. The conservative government organisations in control of propaganda preserved satirical photomontage in its post-Dadaist phase and Heartfield-like form, finding it useful in the production of negative propaganda.
50

Louis Zukofsky and the Objectivist project, 1927-1934

Clarke, John Wedgwood January 2000 (has links)
No description available.

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