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Australian press coverage of the Armenian genocide, 1915-1923Kateb, Vahe Georges. January 2003 (has links)
Thesis (M.A.)--University of Wollongong, 2003. / Title from PDF title page (viewed on Aug. 13, 2005). Ill., maps, and facsims. in print version are lacking in electronic version. Includes bibliographical references.
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Choosing silence : the United States, Turkey and the Armenian genocide /Attallah, Maral N. January 1900 (has links)
Thesis (M.A.)--Humboldt State University, 2007. / Includes bibliographical references (leaves 107-114). Also available via Humboldt Digital Scholar.
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Stumbling blocks geopolitics, the Armenian genocide, and the American Jewish community /Harris, Jason. January 2008 (has links)
Thesis (M.A.)--Brandeis University, 2008. / Title from IR (viewed on May 29, 2009). Includes bibliographical references.
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Processos comunicacionais em curadoria e produção do conhecimento: a trajetória de criação do projeto Genocídio Armênio nos domínios da arte contemporânea e da memóriaDemercian, Roseli Conceição de Moraes Rojas 14 December 2017 (has links)
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Previous issue date: 2017-12-14 / Art in postmodernity does not survive by itself, without generating influxes in the social environment. It must make explicit the worldviews that structure reality, developing a multifaceted activity. As the art system expands throughout the world, so does the demand for curators who see a remarkable strengthening of their role. Thus, we discuss in the present thesis what should be expected of the art curator to develop criteria in the construction of an exhibition, with a new narrative communicational, raising the following hypotheses: what is the practical dimension of curatorial action and its characteristics current? Is it the art curator's job to educate the target audience? The general objective, therefore, is the study of how the curator's action should be, based on a legitimizing knowledge of contemporaneity; and its specific objective is the development of general criteria and models for this practical action, indent to utopias, in a method embodied in the space / time / occupation triad. The curator is an actor whose functions, methodology and activity have not yet been sufficiently explored in scientific research, which in practice have been diffused, marked by a strong empiricism that does nothing to develop curative theories. He must propose, through mediation, not only the orientation of the artist, but also the education of the gaze, thus revealing an effective interpretation of the world. The curatorship that served as a basis for this thesis was structured in four ethnographic concepts, namely: genocide of the Armenian people, memory, lectures and affective cartography. They were theorists: HANS ULBRICH OBRIST, who motivated the investigation of the materialization of the exhibition space, starting from conversations, meetings and exchanges, with the reinvention of a new meeting point with art, establishing relational and communicational criteria; JOHN DEWEY, whose concepts propitiated a new vision of research resulting from the junction between the new and the old, through the experience of the real, in which the impulsion gains form and solidity; and LÚCIA LEÃO, whose teachings raised the need to understand the process of creative construction of experience, resulting from a mapping of the global and panoramic view of the terrain on which the labyrinth would be projected. As a historical fact, the genocide of the Armenian people, recalled in its 100 years, the methodology used was eminently empirical based on reports, interviews and recordings, collecting files, documents of affection and memories. In order to achieve its purpose, it had, necessarily, an interdisciplinary character, involving, therefore, different areas of knowledge. The field survey lasted for approximately twelve months and its execution lasted for the same period. It is believed that the relevance of this research rests on its provocative character of affections because it revisits the memory and, at the same time, invites the dialogue. This aetiological construction requires study and repertoire acquisition, so that, based on these hypotheses, a great number of aesthetic, historical, political and social relations can be established. It has been demonstrated in this way that the final destination of the archive lies not in its own narrative but in the history that it makes possible / A arte na pós-modernidade não sobrevive por ela mesma, sem gerar influxos no meio social. Ela deve explicitar as visões de mundo que estruturam a realidade, desenvolvendo para tanto uma atividade multifacetada. Na medida em que o sistema das artes se expande pelo mundo, cresce também a demanda por curadores, que veem um notável fortalecimento do seu papel. Dessa forma, discute-se na presente tese o que se deve esperar do curador de arte para o desenvolvimento de critérios na construção de uma exposição, com uma nova narrativa comunicacional, suscitando as seguintes hipóteses: qual a dimensão prática da ação curatorial e suas características atuais? É tarefa do curador de arte a educação do público-alvo? O objetivo geral, portanto, é o estudo de como deve ser a atuação do curador, pautado num saber legitimador da contemporaneidade; e seu objetivo específico é o desenvolvimento de critérios e modelos gerais para essa atuação prática, indene a utopias, num método plasmado na tríade espaço/tempo/ocupação. O curador é um ator cujas funções, metodologia e atividade ainda não foram suficientemente exploradas nas pesquisas científicas, que, na prática, têm se mostrado difusas, marcadas por um forte empirismo que nada coopera para o desenvolvimento de teorias curatorias. Ele deve propor, pela mediação, não só a orientação do artista, como também a educação do olhar, descortinando, dessa forma, uma efetiva interpretação de mundo. A curadoria que serviu de base para a presente tese foi estruturada em quatro conceitos etnográficos, quais sejam: genocídio do povo armênio, memória, palestras e cartografia afetiva. Serviram-lhe de teóricos: HANS ULBRICH OBRIST, que motivou a investigação sobre a materialização do espaço expositivo, partindo de conversas, encontros e trocas reunidas, com a reinvenção de um novo ponto de encontro com a arte, estabelecendo critérios relacionais e comunicacionais; JOHN DEWEY, cujos conceitos propiciaram uma nova visão de pesquisa decorrente da junção entre o novo e o velho, por meio da experiência do real, em que a impulsão ganha forma e solidez; e LÚCIA LEÃO, cujos ensinamentos suscitaram a necessidade de se compreender o processo de construção criativa da experiência, resultante de um mapeamento do olhar global e panorâmico do terreno no qual o labirinto seria projetado. Como se abordou um fato histórico, o genocídio do povo armênio, rememorado nos seus 100 anos, a metodologia utilizada foi eminentemente empírica baseada em relatos, entrevistas e gravações, colhendo-se arquivos, documentos de afeto e memórias. Para a consecução da sua finalidade, teve, necessariamente, caráter interdisciplinar, envolvendo, portanto, diferentes áreas do conhecimento. A pesquisa de campo se prolongou por, aproximadamente, doze meses e a sua execução se estendeu por igual período. Acredita-se que a relevância desta pesquisa repousa no seu caráter provocador de afetos pois revisita a memória e, ao mesmo tempo, convida ao diálogo. Essa construção etiológica requer estudo e aquisição de repertório, para que, com base nessas hipóteses, se possa estabelecer um grande número de relações estéticas, históricas, políticas e sociais. Demonstrou-se, dessa maneira, que o destino final do arquivo está situado, não em sua própria narrativa, mas sim na história que ele torna possível
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Creating with Ghosts: Identity and Artistic Purpose in Armenian DiasporaKouyoumdjian, Mary January 2021 (has links)
The creative submission for my dissertation includes two of my documentary works: They Will Take My Island, a thirty-minute multimedia collaboration with filmmaker Atom Egoyan for amplified string octet, electronic track, and film, commissioned by the Metropolitan Museum of Art; and Paper Pianos, a ninety-minute staged collaboration with director Nigel Maister and projection artist Kevork Mourad. The written submission for my dissertation is an examination of the ways in which experiences around transgenerational trauma inform and manifest in my creative practice. I offer a summary of my own family history of survivors of the Armenian Genocide and Lebanese Civil War, as well as a survey of displacement amongst the Armenian community in the past century. Furthermore, I discuss identity processing as diaspora and the act of cultural preservation, as inspired by genocide survivor, composer, priest, writer, and musicologist, Komitas Vardapet. I later examine these ideas in the context of creating They Will Take My Island and Paper Pianos, both of which were constructively motivated by transgenerational survivor’s guilt and draw from extra-musical documentary and horror genre practices.
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