Undergraduate enrollment in colleges and universities has grown and changed drastically over the past 2 decades, with a significant portion of this growth coming from the increased number of nontraditional students who have made the decision to make their way onto college and university campuses to pursue a college degree. Due to these changes, many institutions of higher education have had to rethink the way they have historically operated. In an attempt to better meet the needs and demands of adult nontraditional students, colleges and universities have reviewed their existing programs and instituted programs that allow for the awarding of academic credit for prior learning. For those institutions of higher education involved in the prior learning assessment (PLA) process and interested in providing a quality program, an increased emphasis and focus should be on the importance of determining what a learning activity is, and more importantly, what constitutes college-level learning. This study focused on the identification and profiling of prior learning assessment (PLA) processes in Texas public universities offering nontraditional baccalaureate degree programs, the identification of commonalties among such programs, and the determination of program quality based on established standards. The instrument utilized in this study was designed on Urban Whitaker's 10 Standards of Good Practice. The population consisted of those public institutions of higher education in Texas that offer the Texas CIP code 30.9999.40 - Applied Arts and Sciences - baccalaureate degree. A within-stage mixed-model methodology was used. Open-ended questions were used to strengthen the data obtained from the quantitative portion. This research study suggests that, although there are similarities with regards to the types of PLA processes used in the awarding of PLA credit, many of the organizations could benefit from an evaluation of their current policies, procedures, and/or common practices related to the process of awarding credit via prior learning assessment as they relate to overall quality.

No description available.

Identity and its different constructions - national, social and personal, for example - are increasingly recognised as fundamental to understanding current and historic cultures. The reflexive relationship of identity issues with sartorial expression is a key concept within dress, fashion and textile studies. This thesis contributes to that growing body of knowledge by developing an understanding of how specific eighteenth century Scotswomen and their families related to their garments, thus bringing together contemporary study methods and understandings of identity with historic manifestations. This study of identity is embedded within an object-study methodology, following investigative practice and cataloguing methods currently used within the international museums community. This assists the secondary purpose of the thesis, which is to highlight a breadth of largely unpublished main garment objects within Scottish public and private collections. The intimate study of these objects has revealed stories of how daily life interacted with personal taste and style, purchase methods, garment use and international markets for individuals connected to Scotland. This has contributed material understanding to wider academic research areas, most importantly the everyday lives of eighteenth century Scotswomen, issues of identity within Scotland, and how European fashion trends were adopted or adapted by individuals outside of the major fashion centres of London and Paris. Study of the garments has involved stylistic analysis of their textiles and of their construction, connecting them to other extant and depicted garments from British and international collections. Thus providing material evidence of international styles in the eighteenth century, and matching two items in a rare example of extant main garments evidencing duplication in the eighteenth century handmade clothing industry.

Previous research highlighted consumer dissatisfaction with fashion clothing products on offer. There is a lack of information about real consumers needs due to the industry standards of beauty and behaviour as well as a constant rush for innovation that feeds fashion cycles. This research identifies the elements that will enable fashion clothing companies to become more inclusive, and aims to find a methodological relationship between the stakeholders in the fashion industry: consumers, designers and companies. The research considered the difference between a mature market as opposed to emergent ones, and addressed differences between Western and Eastern cultures.

Thesis (Ph. D.)--University of Toronto, 2005.

No description available.

The purpose of this study is ultimately to analyze the influence of cultural attitudes on the treatment of the Scottish estate in the first half of the 18th century (c.1715 – c.1776), making particular reference to the ideology of improvement, through the use of Sir Archibald Grant of Monymusk as a case study. Grant’s improvement of his estate is not understood as literally agricultural or economic development alone, but as a complex ideological commitment to the transformation of land, landscape and society. Whilst Grant of Monymusk has been discussed with reference to economic improvement, the relationship between his role as a publically acknowledged improver and his patronage of art and architecture, as well as his attempts at publication, has not been subject to similar interest. This thesis uses an innovative interdisciplinary approach which draws on archaeological as well as art historical methodologies. It discusses a wider range of estate commissions, in particular Grant’s patronage of the portrait artists John Smibert and William Robertson, the poet John Ogilvie, his commission of the architectural surveyors Alexander Jaffray and Robert Robinson, as well as his work to construct planned villages at Kirktown of Monymusk and Archiestown. The thesis attempts to place these commissions within the context of recent studies of improvement which emphasize its role as an ideology with cultural implications. The use of an individual case study allows for a more in depth discussion of specific reactions to historical and ideological change, providing a narrative of a specific site and thus creating an individual response towards broader cultural and scientific developments.

The theme of this thesis is History of School of Applied Arts studios in Prague between 1885 and 1910. The thesis focuses mainly on style development at the crucial point of turning of the century. This period was the turning point when advanced school's art manifested and also time of generation change that transformed overall school atmosphere. A specific contribution of this thesis lies in outlining less known specialized schools, with inclusion of female element, which are factors that were not previously described elsewhere, as well as in attempt to find methodical and development analogies between Prague and Vienna School of Applied Arts. The aim of my thesis was to assess exceptional status of the school, especially in context of Czech educational system of decorative arts, and to evaluate historical context based on detailed archive research. I included in the thesis a comprehensive list of students of general and specialized schools of decorative arts, thus creating a foundation for future researchers on individual artistic personalities. Study of development of School of Applied Arts is an analytical synthesis presenting the specific role of decorative arts and crafts in pre-WWI era.

Orientador: Silvana Barbosa Rubino / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-27T12:39:56Z (GMT). No. of bitstreams: 1 Ribeiro_AnaLuisaCarmona_M.pdf: 71970188 bytes, checksum: 7d254fa81b03eed7f0820f730f2eb2db (MD5) Previous issue date: 2015 / Resumo: Nascida em Roma e graduada arquiteta na Itália, Lina Bo Bardi transferiu-se para o Brasil em 1946. Desde a chegada ao país e marcadamente após a inauguração do Museu de Arte Assis Chateaubriand, em São Paulo, Lina Bo Bardi desenvolveu projetos expográficos em fluxo quase constante, incluindo mostras no MASP, no Museu de Arte Moderna da Bahia (MAMB), em Salvador, do Museu de Arte Popular do Unhão (MAP), também na capital baiana, e posteriormente atuando como diretora de programação no Serviço Social do Comércio (SESC), no bairro paulistano da Pompéia. Apoiando-se na pesquisa realizada sobre a documentação o do acervo pessoal e profissional da arquiteta que perpassa o período de 1947 a 1985, assim como na análise de plantas expográficas, material impresso, clipping jornalísstico e fotografias referentes as exposicições organizadas por Lina, esta dissertação investiga deslocamentos e desenvolvimentos no discurso expográfico de Bo Bardi sempre perpassado pelas seguintes temáticas recorrentes: a relação entre arte popular, design e arte erudita; o papel pedagógico das instituições museais; e a influência das inovações expográficas italianas e a busca por uma linguagem expográfica auto?ctone, vinculada a um projeto de desenvolvimento nacional / Abstract: Born in Rome, Lina Bo Bardi began her career as an architect in Italy before the break of World War II, immigrating to Brazil in 1946, where she lived until her death in 1992. Among a multidisciplinary array of works in the fields of design and architecture, Bo Bardi also organized and designed several exhibitions in the Museu de Arte de Sa?o Paulo (MASP), the Museu de Arte Moderna da Bahia (MAMB) and the Museu de Arte Popular do Unha?o (MAP), both in Salvador, and in SESC Fa?brica da Pompe?ia, in Sa?o Paulo. Relying on drafts, sketches, and correspondence from Bo Bardi¿s personal and professional archives, mostly unpublished, and also on exhibition plans, printed matter, news clipping and photographs from the architects exhibitions, our investigation focuses on Bo Bardi¿s expographic activity, its attained discourse and its developments between the late 1940s and mid 1980s. During this period she dwell with some recurring debates: the relationship between folk art, design and Art; the pedagogical role of the museum institutions; the influence of Italian expographic design from the 1940s and 50s in her brazillian work; and the quest for an indigenous language for her exhibition designs, which she also envisioned as a tool for the economical, social and cultural development of Brazil / Mestrado / Politica, Memoria e Cidade / Mestra em História

A doctoral thesis “Czechoslovakian modernist illustration of the 1950s and 1960s and its influences in the contemporary Czech visual culture” is focused on how a modernist illustration of the 1950s and 1960s influences Czech contemporary authors, especially illustrators. We can witness a particularly strong influence of the above mentioned modernist illustration and visual culture of that period in general among producers employing digital tools and vector graphics served. The thesis contains a historical study which follows developments of the visual language of graphic arts (illustration in particular) in the 1950s and 1960s in relation to fine arts. There is a special focus on a position of the 1960s’ modernist illustration within the applied arts of the period. Biographical study dedicated to illustrator M. Šašek introduce key figure of the (late) modernist period.