Humboldt-Univ., Diss.--Berlin, 2005.

Thesis (M.A.) - Carleton University, 2004. / Includes bibliographical references (p. 122-135). Also available in electronic format on the Internet.

Univ., Diss.--München, 2003. / Quellen- und Literaturverz. S. [539] - 583.

Thesis (doctoral)--Rijksuniversiteit te Groningen, 1998. / List of propositions tipped in. Includes bibliographical references.

Thesis (doctoral)-Humboldt-Universität, Berlin, 2004. / Includes bibliographical references ( p. 374-396) and index.

This dissertation analyzes art in Mozambique during the country’s transition from Marxist-Leninism to a multi-party democracy (1984-1994). The end of the socialist regime elicited diverse responses from Mozambican artists and art institutions, all of which tried to reconsider the recent radical past to suit the new political conditions of liberalization at the end of the Cold War. Part I of the dissertation focuses on the 1980s rehabilitation of artist Malangatana Valente Ngwenya, one of the first and most important figures in African modernism. Malangatana’s image as a national artist will be discussed alongside the emergence of the collective of art critics known as Rhandzarte, and the reconsideration of the state’s narrative of national unity. Part II looks at the artist Naguib Elias Abdula as an example of the move away from state patronage towards reliance on the private sector. Following the wide changes in its artistic values, Mozambique was the first African country to create an institution to foster corporate collecting in a state-owned initiative known as Horizon Art Diffusion. Part III will focus on the rise of abstraction in the late 1980s and early 1990s. While figurative works of art had been the norm since independence, the increased visibility of abstraction at the end of socialism shook the foundations of the country’s aesthetics. On the one hand, some abstract works can be seen as radical interrogations of what had constituted Mozambican art until then. On the other hand, much of the momentum of abstraction was a product of the Ujamaa workshops, which were modelled on the Triangle Art Foundation. In its significantly different political and aesthetic reverberations, Mozambican abstraction appeared as a definite break from the socialist past.

羅欣欣. / 論文(哲學碩士) -- 香港中文大學硏究院藝術學部, 1998. / 附參考文獻. / 中英文摘要. / Luo Xinxin. / 序言 --- p.1 / 論文摘要 --- p.2 / 插圖目錄 --- p.5 / 緒論 --- p.14 / Chapter 第一章 --- 中共建國前的毛澤東繪畫圖像(1927-1949) / Chapter I. --- 毛澤東政治地位的確立 --- p.28 / Chapter II. --- 土地革命戰爭時期(1927-1937)：毛澤東繪畫圖像的起源 --- p.30 / Chapter III. --- 抗口戰爭時期(1937-1945)的毛澤東繪畫圖像發展 --- p.31 / Chapter 1 . --- 魯藝木刻工作團的成立1938 --- p.32 / Chapter 2. --- 晉西北木刻工廠1941 --- p.33 / Chapter 3. --- 《延安文藝座談會上的講話》1942 --- p.34 / Chapter 4. --- 赤色郵政 1944 --- p.40 / Chapter 5. --- 中共黨報 1945 --- p.41 / Chapter IV. --- 全國解放戰爭時期(1945-1949)的毛澤東繪畫圖像發展 --- p.43 / 小結 --- p.47 / Chapter 第二章 --- 中共建國後的毛澤東繪畫圖像(1949-1966) / Chapter I. --- 中華人民共和國成立初年的毛澤東繒畫圖像發展 --- p.53 / Chapter 1. --- 中華人民共和國的成立194 9 --- p.53 / Chapter a. --- 延安藝術傳統的毛澤東漫畫圖像 --- p.54 / Chapter b. --- 王朝聞的繪畫領袖像指示 --- p.56 / Chapter 2. --- 土地改革 1950-1952 --- p.59 / Chapter a. --- 新年畫創作運動 --- p.59 / Chapter 3. --- 建國初年的整黨整風1950-52 --- p.66 / Chapter a. --- 革命歷史畫創作計劃 --- p.67 / Chapter II. --- 中蘇親密外交下的毛澤東繪畫圖像發展 --- p.70 / Chapter 1. --- 全盤蘇化1950-55 --- p.70 / Chapter a. --- 蘇聯宣傳畫的影響 --- p.70 / Chapter b. --- 蘇聯油畫的影響 --- p.72 / Chapter c. --- 蘇聯領袖像選材的影響 --- p.74 / Chapter III. --- 中共社會經濟改革下的毛澤東繪畫圖像發展 --- p.76 / Chapter 1. --- 第一個五年計劃1953-1957 --- p.76 / Chapter a. --- 中國畫的改造 --- p.78 / Chapter b. --- 油畫民族化 --- p.81 / Chapter 2. --- 大躍進及人民公社運動1958-60 --- p.84 / Chapter 3. --- 社會主義教育運動1962-65 --- p.88 / Chapter a. --- 革命歷史繪畫運動 --- p.59 / 小結 --- p.91 / Chapter 第三章 --- 文革時期的毛澤東繪畫圖像(1966-1976) / Chapter I. --- 文化大革命發動的原因 --- p.105 / Chapter 1. --- 文化大革命序幕：海瑞罷官1965 --- p.105 / Chapter 2. --- 毛澤東個人崇拜 --- p.107 / Chapter II. --- 文革時期毛澤東繪畫圖像的發展 --- p.107 / Chapter 1. --- 紅衛兵運動1966 --- p.107 / Chapter a. --- 紅衛兵藝術 --- p.108 / Chapter b. --- 《毛澤東思想照亮安源工人革命運動展覽》 --- p.113 / Chapter c. --- 「紅、光、亮」的藝術手法 --- p.115 / Chapter 2. --- 工農兵領導下的文化大革命1969 --- p.117 / Chapter a. --- 工農兵繪畫運動 --- p.118 / Chapter 3. --- 毛澤東的親密戰友一林彪的叛變1971 --- p.124 / Chapter 4. --- 毛澤東的接班人一華國鋒1976 --- p.125 / 小結 --- p.126 / Chapter 第四章 --- 文革後及改革開放時期的毛澤東繪畫圖像(1976-1997) / Chapter I. --- 文革後的毛澤東繪畫圖像發展 --- p.132 / Chapter 1. --- 後文革時期的藝術1976-1978 --- p.132 / Chapter a. --- 《熱烈慶祝華國鋒同志任中央主席、中央軍委主席 、熱烈慶祝粉碎四人幫篡黨奪權陰謀的偉大勝 利全國美術作品展覽》 --- p.133 / Chapter b. --- 《慶祝中國人民解放軍建軍50周年美術作品展覽》 --- p.134 / Chapter c. --- 毛主席紀念堂的落成 --- p.136 / Chapter d. --- 《毛主席永遠活在我們心中´ؤ毛主席逝世一周 年美術作品展覽》 --- p.137 / Chapter 2. --- 傷痕藝術1978-1979 --- p.139 / Chapter 3. --- 星星美展1979-1980 --- p.140 / Chapter II. --- 改革開放時期的毛澤東繪畫圖像發展 --- p.141 / Chapter 1. --- 美術新思潮下的毛澤東圖像 --- p.141 / Chapter a. --- 後八九的中國新藝術一政治波普中的毛澤東圖像 --- p.143 / Chapter b. --- 毛澤東藝術圖像的拍賣熱潮 --- p.151 / Chapter 2. --- 宮方持續創作的毛澤東繪畫圖像 --- p.152 / 小結 --- p.156 / 結語 --- p.161 / 附錄一 ：1.中國藝術史中毛澤東書法圖像的社會文化意義 --- p.1-1 / 2.美術展覽中的毛澤東繪畫圖像畫目 --- p.1-6 / 附錄二：參考書目 --- p.2-1 / 附錄三：現代中國藝術史中毛澤東繪畫圖像畫目 --- p.3-1 / 附錄四：圖版 --- p.4-1

This extended case analysis thus demonstrates the intricate relationship between complex state capacities and cultural hegemony. It aims to deepen our understanding of the cultural history and state nature of Mao's China; theoretically, it aims to bring the state back into the cultural analysis based on a more solid foundation of state theory and provide a reference case for applying state theory to analyze cultural and other issues. / This research is an empirical analysis of the cultural hegemony pursued by Mao's China (1949-1966) in the field of mass culture. Based on the empirical research of this study, and inspired by the perspective of "Bringing the State back in" School, and the "State in Society" theory as well, this research put forth the theoretical perspective of "Complex Vision of State Capacities", which highlights the uneven-ness of state capacities in different fields and different aspects of the same field, and emphasizes that we should pay attention to both the strong state capacities, weak state capacities, the paradox of strong state capacities, the conflict between different state projects and the influence of "policy feedback" on state capacities. Based on the Extended Case Method, this research selects the Dashijie Amusement Center in Shanghai as the subject of research. It analyzes how the new regime effectively took over and transformed Dashijie, and meanwhile, demonstrates that under the influence of the complex state capacities, Dashijie gradually lost its original characteristics as an amusement center, and became more and more similar with Workers' Club. This phenomenon is called as cultural isomorphism. Negotiational hegemony to some extent alleviated this situation of cultural isomorphism, while zero-sum hegemony exacerbated it. With this development, the number of audience of Dashijie dropped a lot, which implies the predicament of cultural hegemony in the field of mass culture pursued by the totalistic state. Following the methodological perspective of the Extended Case Method, and also inspired by Bourdieu's theory of cultural field, this research further analyzes the evolution of Shanghai Bureau of Cultural Affairs. It demonstrated that, compared with the Nationalist Government, the new regime took further step in state building in the field of mass culture, advancing the bureaucratization of cultural administrative apparatuses and penetrating the state power into the cultural field at the grass-roots level. On the other hand, this research also reveals that the new regime is constrained by the weak state capacities in financial resources, human capital, sufficient bureaucratization, and the limitation of state capacities in the heterogeneity of the masses and the asynchronous-ness of structural transformation. As a result, the state capacity of the totalistic state in eradicating the production and circulation of the old mass cultural products is relatively strong and thus relatively successful, while the state capacity in constructing a new socialist mass culture, which was expected to be widely accepted by the masses, is relatively weak and thus relatively unsuccessful. In the view of "Complex Vision of State Capacities", negotiational hegemony reflected the recognition of complex state capacities, and it was thus necessary and beneficial for the state project of cultural hegemony; while the zero-sum hegemony reflected lack of recognition of or even did not accept the situation of complex state capacities, and thus exacerbated the situation of cultural isomorphism, leading to the final predicatement of cultural hegemony. / 肖文明. / Adviser: Hoi-man Chan. / Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 323-339). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Xiao Wenming.

The problem addressed in this study is the administrative process and criteria used by nonprofit visual arts organizations in the State of Texas in acquiring government and private funding. The purposes of the study were to examine the organization and administrative process of the nonprofit visual arts organization, to determine the criteria utilized by government and private funding sources for distribution of funds to nonprofit visual arts organizations, and to examine the process used by nonprofit visual arts organizations when acquiring funds from government and private sources. The data were obtained by means of a descriptive survey questionnaire which was mailed to 336 selected nonprofit visual arts organizations in the State of Texas. These organizations represent the following six areas of visual art: foundations, galleries, museums, associations, photography, and schools. From these areas the population was further refined to include only museums and associations, which represent the extreme diversity of administrative processes used. The resulting subpopulation was comprised of forty-six organizations which had filed for grants from the Texas Commission on the Arts within the past three years. Thirty research questions were answered from the results of the questionnaire. Research questions one, and three through thirty were analyzed and presented in narrative discussion with the results. Categorical data were listed to show range. The second research question was analyzed using the Pearson Product-Moment Correlation Coefficient. On the basis of the literature review and the survey responses received, an authentic problem exists in the funding process of these organizations. The organizations surveyed appear to recognize the funding problems, but the results of the study reveal that many have yet to develop effective and efficient strategies to solve several of these problems.

Bibliography: leaves 156-167. The aim of this thesis is to show how in practice the National Socialists sacrificed ideological considerations to the material advantages that could be gained from the sale of "degenerate art". In practice the term "degenerate" was extended beyond modern art to include French Impressionist and Post-Impressionist art, specifically because they were highly saleable. This is evinced by the sales of "degenerate art" which were conducted by the Reichministerium für Volksklärung und Propaganda (RMVP). The record of the sales compiled by the propaganda ministry in the summer of 1941, provide conclusive evidence that the Reich government compromised its ideological position for financial gain. The sale of "degenerate art" conducted by order of the Reich at the Galerie Fischer auction in Lucerne in 1939, provides further evidence that the practice of confiscation was economically driven.