Thesis (M.A.)--University of North Carolina at Greensboro, 2007. / Title from PDF t.p. (viewed Oct. 22, 2007). Directed by Paul J. Silvia; submitted to the Dept. of Psychology. Includes bibliographical references (p. 50-53).

<p> This thesis explores anatomical rendering as an impetus for contemporary art practices. It examines societal assumptions about the body and its relationship to mental health using drawing and printmaking as allegorical tools. </p>

M.A. (Psychology) / Please refer to full text to view abstract

Added t.p. with thesis note: Akademisk avhandling - Uppsala. / Includes bibliographical references.

Thesis (Ed. D.)--Illinois State University, 1976. / Title from title page screen, viewed Nov. 23, 2004. Dissertation Committee: Harold L. Gregor (chair), L. Moody Simms, Macon L. Williams, Kenneth Holder, Keith Knoblock. Includes bibliographical references (leaves 418-447) and abstract. Also available in print.

Thesis (MA)--University of Stellenbosch, 2007. / Bibliography. Also available via the Internet.

Thesis (M.A. (Drama))--Rhodes University, 2006.

The purpose of this study was to investigate the self-perceptions certified public high school teachers in the fine arts have toward their roles as artist and instructional staff member.

Thesis (MA)--University of Stellenbosch, 2008. / Library's copy not signed by author. Bibliography. Also available via the Internet.

Orientador: Lucia Helena Reily / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T11:48:58Z (GMT). No. of bitstreams: 1 Lorenzino_ArianadeAbreu_M.pdf: 9170082 bytes, checksum: a78f54026e94f2ab346d7b6e17a946e6 (MD5) Previous issue date: 2009 / Resumo: O Profeta Gentileza é conhecido na cidade do Rio de Janeiro por ter executado um trabalho de intervenção visual plástico de grande dimensão no espaço urbano. Profetizando entre os carros, nas avenidas e na barca que liga o Rio a Niterói, tornou-se uma lenda urbana a partir da década de sessenta até os dias atuais. O trabalho realizado por Gentileza nas pilastras, paredes e viadutos da cidade foi taxado de "pichação" pela companhia de limpeza e Prefeitura do Rio de Janeiro, a COMLURB, e seu trabalho, como "pregação" religiosa de um cidadão tido como louco e desvinculado do universo artístico. Esta atitude gerou um movimento público que exigiu o restauro depois que os escritos foram apagados. Um dos objetivos centrais deste projeto foi entender a dinâmica dos movimentos pelo reconhecimento do valor cultural de Gentileza, um artista das bordas, assim como os argumentos utilizados para determinar o que é ou não é arte quando a produção plástica acontece fora dos circuitos consagrados do meio. Foi realizada uma pesquisa de campo para conhecer o arquivo de Gentileza guardado pela família, bem como para coletar imagens dos esboços de Gentileza, fotografar as grafias nas pilastras e realizar levantamento de produtos que se apropriam da fonte gráfica de Gentileza e de seu discurso como slogan turístico e de marketing. A pesquisa permitiu desvendar os processos de constituição da poética de Gentileza no percurso de suas andanças a partir da análise plástica realizada sobre a obra e linguagem artística enquanto manifestação/intervenção visual no cenário urbano. / Abstract: The Prophet Gentileza is known in the city of Rio de Janeiro, Brazil, for having produced visual arts interventions of huge dimensions on the cityscape. He walked among automobiles along the city's avenues and on the ferry that crosses from Rio to Niterói, prophesizing, and so he became an urban legend from the nineteensixties to the present day. The work that Gentileza produced on viaduct pillars, walls and crossings of Rio de Janeiro was considered to be dirty scrawlings by the Rio de Janeiro urban cleaning company (Comlurb), and he was considered insane because of his religious ramblings, living outside mainstream society. When his writings were covered over with whitewash by the city cleaners, a civic movement was set in motion, demanding that his messages be restored. One of the main objectives of this project was to understand the dynamics of the movement for recognizing the cultural value of Gentileza as an outsider artist, as well as the arguments used to determine what is or is not art, when visual production occurs outside consecrated art circuits. Field research was conducted so as to study the archives Gentileza's family kept, and also to collect images of his sketches and jottings, photograph the graphic work on the viaduct pillars as well as to research products that have been designed based on the appropriation of Gentileza's unique graphic font, as well as of his discourse used as marketing and turned into slogans with tourism intent. Through visual analysis of his works and artistic language, we were able to uncover the constitution of his processes of visual manifestation/intervention on the carioca cityscape engendered in the course of his wanderings. / Mestrado / Artes / Mestre em Artes