The thesis discusses the causes of the failure of the early Victorian textile industries to produce fine designs, and analyses the responses of manufacturers, artisans and critics to the issues raised by the problem. In Part 1 the historical changes of 'key words' such as art craft, artisan and artist are surveyed. It is suggested that changes in technology and work organisation and the formation of new social classes were mainly responsible for changes in the use of language. Part 2 looks at the labour process: technological changes and their results in the production of design are traced back and aesthetic aspects of the machinery question are analysed. The division of labour, its consequences in the designing process, and the nature of work (child labour in particular) are examined. The workers' defence of their skills and their desire to regain lost skills are also emphasised in the first two Parts: Part 3 then analyses economic, social and cultural aspects of the artistic education that was provided as a remedy for declining artistic standards and workmanship. Industrial exhibitions are discussed in the context of the education of the public in 'taste', as well as of the commercial interests of the manufacturing sectors. Part 4 discusses the market, where the design had become a relatively important part of the value of commodities. Manufacturers' concern with piracy and the protection of design copyright are examined; the interests of pro- and anti-copyright campaigners are discussed in relation to the free trade movement. Finally, the responses of manufacturers and merchants towards 'fashion' in the market are analysed: it is argued that the arbiters of 'taste' were more likely to be manufacturers and merchants than designers, and that the former did indeed damage the reputation of British design and created a problem which became apparent when other industrial nations caught up with Britain in technological achievement.

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 329-340).

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Thesis: M.S., Massachusetts Institute of Technology, Sloan School of Management, 1975 / Bibliography: leaves 120-127. / by Neil J. Boyer. / M.S. / M.S. Massachusetts Institute of Technology, Sloan School of Management

This investigation accepts that art is a term of western culture and that advertising is a creation of an historical and social process firmly linked to the economies of western industrialised nations. A cultural niche theory of the visual arts is employed to define the various visual art forms and it is in this context that the development of the notion of fine art, which had its origins during the Renaissance, is investigated with a view to how this led to the commodification of art. The phenomenon of art as a commodity accelerated throughout the nineteenth century and was moulded by the same political, cultural, social, economic and technological forces that gave rise to advertising when, during the second half of the century, the capitalist system of production became geared towards mass production of products for consumption. This was also the period of significant European colonial expansion in southern Afiica and consequently the development of both art and advertising in the region was cast in a colonial, European mould, the effects of which are investigated throughout this research project. This body of research also seeks to explain how the meaning and the value of the art object and its reproduced image, changed and became exchangeable as technology developed. Significantly this occurred at a time when the needs of advertising shifted from a simple system of proclamation and announcement on the periphery of the national economy during the nineteenth century to become a sophisticated system of communication which acts as an influential social institution at the end of this millennium. That this appears to have occurred at a time when the influence of fine art began to decline as a cultural force is significant as it is in this context that advertising has become a primary carrier of meaning in society. This research project works within this paradigm to investigate the history and motives of business support for the arts, particularly the visual arts, in the form of sponsorship with particular reference to a culturally diverse and politically dynamic South Africa. In addition, specific rhetorical devices that advertising employs, as a strategic tool of marketing, to appropriate and (ex)change meaning from the value laden visual art object is investigated with reference to contemporary advertising in South Africa. / Thesis (M.A.)-University of Natal,1998.

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