Thèse (M.A.) -- Université du Québec à Chicoutimi, 2003. / Bibliogr.: f. [54]-55. Document électronique également accessible en format PDF. CaQCU

Thesis (MFineArt)--University of Melbourne, VCA Art, The Faculty of the Victorian College of the Arts, 2009. / Typescript. Includes bibliographical references (p. 41-42)

Überarb. des 2. + 3. Teils einer Diss. Univ. de Paris X-Nanterre, 2004. / Originaltitel: Le poète, l'artiste et le collectionneur, Titel der Diss.

Thesis (Ed. D.)--Illinois State University, 1977. / Title from title page screen, viewed Dec. 22, 2004. Dissertation Committee: William E. Colvin (chair), Fred V. Mills, C.L. Steinburg, Eric Bickley, M.M. Chambers. Includes bibliographical references (leaf 92) and abstract. Also available in print.

Thesis (M.A.)--University of Canterbury, 2009. / Typescript (photocopy). Includes bibliographical references (leaves 132-136). Also available via the World Wide Web.

Zugl.: Leipzig, Univ., Diss., 2006. / Karl Alber Preis 2008 des Philosophischen Jahrbuchs.

Thesis (M.A.)--Carleton University, 1995. / Includes bibliographical references. Also available in electronic format on the Internet.

Texte remanié de: Diss.--Freiburg i. Br.--Albert-Ludwigs-Universität, 1986.

This thesis will consider the art and persona of Grayson Perry in relation to ideas of national identity. In particular, it will argue that Perry has been occupied with ideas of class and national identity throughout his career, but that these underlying concerns have often been subsumed, or obfuscated, by the foregrounding of other more obvious aspects of his work, such as his transvestism. At the centre of this thesis is the argument that Perry's vision of England, and the purportedly ambivalent way in which he presents it, functions as a way of negotiating - and repatriating - English national identity at a time of crisis. I want to further argue, however, that this has been complicated by Perry's self-positioning, and I propose that he has cultivated an air of subversion and transgression that has tempered the more affirmative aspects of his work. This half-subversive, half-affirmative stance allows him and his work to resonate with both those critical of the usual institutions of contemporary art - including many sections of the public and certain newspapers, tabloid and broadsheet alike - as well as the institutions themselves. This stance has implications not only for Perry's engagement with contemporary art but for his considerations of national identity as well, enabling an enquiry into, and ultimately a restitution of, 'Englishness' (and, to a lesser extent, 'Britishness'), by framing it within a rhetoric of ambivalence and diminishment rather than overt nationalism, the latter of which would have more problematic associations. Similarly, I want to suggest that it is this stance and its mediatory properties, coupled with his earlier self-positioning and his subtle but consistent foregrounding of domestic and demotic issues of national identity throughout his career, that has made Perry such a popular candidate to take on the task of reinvigorating this identity now.

The Thesis is focused on the interconnection of Arts and Environmental Education as a possible way for teaching elementary school children both the sensitive relation to nature and the conscious environmental behaviour. Junk-art, a phenomenon of environmental arts, is introduced in the theoretical part of the Thesis. In this part of the Thesis, there are also theoretical basis of Arts and Environmental Education, as they are embodied in the Framing Program of Education and the analysis of possible areas for utilisation of scrap materials within intermediate and experimental activities in Arts at elementary schools. In the conclusion of the theoretical part of the Thesis, there is a list of books available in the Czech market which deal with possibilities of waste media utilisation for the development of creative activities of pupils. In the practical part of the Thesis, there are some results and reflexions of the implementation of my own set of Arts lessons with utilisation of scrap materials which I gave in the third, fourth and fifth grades at a traditional rural school in Stará Říše.