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Harpies and henpecked husbands : images of the powerful housewife in Netherlandish art 1550-1700 /Peacock, Martha Lynne Moffitt, January 1900 (has links)
Thesis (Ph. D.)--Ohio State University, 1989. / Includes vita. Includes bibliographical references (leaves 390-396). Available online via OhioLINK's ETD Center.
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"Empire follows art" exchange and the sensory worlds of Empire in Britain and its colonies, 1740-1775 /Gollannek, Eric Frederick. January 2008 (has links)
Thesis (Ph.D.)--University of Delaware, 2008. / Principal faculty advisor: Bernard L. Herman, Dept. of Art History. Includes bibliographical references.
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Transforming perceptions of Islamic culture in Australia through collaboration in contemporary artTzavaras, Annette. January 2008 (has links)
Thesis (M.C.A.-Res.)--University of Wollongong, 2008. / Typescript. Includes bibliographical references: leaf 70-79.
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Symphonic poem a case study in museum education /Genshaft, Carole Miller. January 2007 (has links)
Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 215-226).
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Intentional Entanglement: The Art of Living on a Dying PlanetAnn, Jessica 14 September 2016 (has links)
No description available.
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The sixth sense : synaesthesia and British aestheticism, 1860-1900Poueymirou, Margaux Lynn Rosa January 2009 (has links)
“The Sixth Sense: Synaesthesia and British Aestheticism 1860-1900” is an interdisciplinary examination of the emergence of synaesthesia conceptually and rhetorically within the ‘art for art’s sake’ movement in mid-to-late Victorian Britain. Chapter One investigates Swinburne’s focal role as both theorist and literary spokesman for the nascent British Aesthetic movement. I argue that Swinburne was the first to practice what Pater meant by ‘aesthetic criticism’ and that synaesthesia played a decisive role in ‘Aestheticising’ critical discourse. Chapter Two examines Whistler’s varied motivations for using synaesthetic metaphor, the way that synaesthesia informed his identity as an aesthete, and the way that critical reactions to his work played a formative role in linking synaesthesia with Aestheticism in the popular imagination of Victorian England. Chapter Three explores Pater’s methods and style as an ‘aesthetic critic.’ Even more than Swinburne, Pater blurred the distinction between criticism and creation. I use ‘synaesthesia’ to contextualise Pater’s theory of “Anders-streben” and to further contribute to our understanding of his infamous musical paradigm as a linguistic ideal, which governed his own approach to critical language. Chapter Four considers Wilde’s decadent redevelopment of synaesthetic metaphor. I use ‘synaesthesia’ to locate Wilde’s style and theory of style within the context of decadence; or, to put it another way, to locate decadence within the context of Wilde. Each chapter examines the highly nuanced claim that art should exist for its own sake and the ways in which artists in the mid-to-late Victorian period attempted to realise this desire on theoretical and rhetorical levels.
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After the Achaemenids : exchange, transmission and transformation in the visual culture of Babylonia, Iran and Bactria c.330-c.100 BCWood, Rachel K. L. January 2012 (has links)
This thesis examines the art of Babylonia, Iran and Bactria after the Macedonian conquest, from c.330 to c.100 BC, in light of current developments in archaeological theory of cultural interaction. In order to illustrate the character and scale of these interactions, the thesis presents a discussion of iconographic material ranging from architectural ornament and sculpture to minor arts. Chapters II-IV discuss the material from each site, highlighting regional characteristics and differences between media. Chapters V-VII use three cross-sections to examine cultural interaction visible in material used for different social functions (‘spheres’). The ‘sphere of gods’ discusses religious architectural ornament and iconography, and the implications for our interpretation of cult in Babylonia, Iran and Bactria in this period. The ‘sphere of kings’ considers ruler representation and the physical appearance of ‘royal space’ while the ‘sphere of citizens and subjects’ discusses material made and used by the wider populace. Macedonian rule and the influx of settlers to Babylonia, Iran and Bactria developed networks of exchange, transmission and transformation creating ‘visually multi-lingual’ societies. The adoption of new artistic influences did not replace all existing traditions or necessarily infringe ethnic identities. There was selective adoption and adaptation of iconography, styles and forms to suit the new patrons and contexts. This cultural co-existence included some combinations of features from different artistic traditions into individual compositions, emphasising how visual languages were not closed-off, rigidly defined or static. Patrons were not confined to using the visual language associated with their ethnicity or current location. There was flexibility of use and meaning, which may present a useful model in the study of other areas of cultural interaction in the Hellenistic period.
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Visuelle Medien im Dienst der Gesellschaft Jesu : Johann Christoph Storer (1620-1671) als Maler der katholischen Reform /Appuhn-Radtke, Sibylle. January 2000 (has links)
Texte remanié de: Habilitationsschrift--Erlangen, Nürnberg--Universität, 1996. / Bibliogr. p. 371-394. Index.
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Mémoires latino-américaines contre l'oppression : témoignages d'exilés du Cône sud, 1960-2000 /Médigue, Alice, January 1900 (has links)
Texte remanié de: Master--Histoire--Paris--IHEAL, 2007. / Bibliogr. p. 279-280.
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Leben und Schaffen der Künstlergruppe "Brücke" 1905 bis 1913 mit einem kommentierten Werkverzeichnis der Geschäfts- und Ausstellungsgrafik /Hoffmann, Meike. January 1900 (has links)
Texte remanié de : Dissertation, Kunstgeschichte, Freie Universität Berlin. / Bibliogr. p. 321-338.
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