周俊輝. / "2006年9月" / 論文(藝術碩士)--香港中文大學, 2006. / 參考文獻(leaves 34-35). / "2006 nian 9 yue" / Abstracts in Chinese and English. / Zhou Junhui. / Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 34-35). / Chapter 1. --- 引言 --- p.1 / Chapter 2. --- 互文性一開放的文本 --- p.2 / Chapter 2.1 --- 克莉斯蒂娃 --- p.1 / Chapter 2.2 --- 巴特 --- p.3 / Chapter 2.3 --- 德里達 --- p.4 / Chapter 3. --- 悠久的文本一藝術史中的經典 --- p.7 / Chapter 3.1 --- 經典構成經驗 --- p.8 / Chapter 3.2 --- 經典之重讀 --- p.11 / Chapter 3.3 --- 與經典建立個人關係 --- p.14 / Chapter 3.4 --- 經典在當代環境中 --- p.18 / Chapter 4. --- 結語一經典的挪用合法化 --- p.23 / Chapter 5. --- 附錄一我的作品 --- p.26 / 圖片來源 --- p.32 / 參考書目 --- p.34

Thesis (M.A.)--Marshall University, 2001. / Typescript. Includes bibliographical references (leaves I-V).

Thesis (Ed. D.)--Illinois State University, 1978. / Title from title page screen, viewed Jan. 20, 2005. Dissertation Committee: Harold Gregor (chair), Jonathan Reyman, Ken Holder, Harold Boyd, Fred Mills. Includes bibliographical references (leaves 167-170) and abstract. Also available in print.

This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.