Thesis (M.F.A.)--University of Central Florida, 2009. / Adviser: Carla Poindexter. Includes bibliographical references (p. 31).

Texte remanié de: Thèse de doctorat--Littérature comparée--Paris 3, 1981.

This dissertation is concerned with the role material culture played in transformation and/or retention of Maya authority, just prior to and after Spanish contact (A.D. 1100-1800s). The primary research data used to discuss this transition was derived from the author's analysis of precolumbian and colonial artifacts from the Ciudadela Structure (YUC 2) in Tíhoo/Mérida, Yucatán-an assemblage originally collected by John Goggin in 1956 and 1957 and currently housed at the University of Florida-Florida Museum of Natural History. As one of the last standing structures in the Maya site of Tíhoo, now buried beneath the Spanish capital city Mérida, the Ciudadela collection represents a rare glimpse into a significant, yet understudied, Type 1 archaeological site. Included in this project are a general examination of Maya studies in the Northwestern Yucatán Corridor and the results of my preliminary classification and viii discussion of materials represented in the YUC 2 assemblage. I t is important to note that as a part of this project, I created the first comprehensive catalogs for the YUC 2 Ciudadela collection, entitled FMNH YUC 2: Catalog of Artifacts, FMNH YUC 2: Ceramic Stylistic Catalog and FMNH YUC 2: Non-Ceramic Catalog. Results of the archaeological component of this study illustrated that there was little change in production of indigenous pottery after the fall of Mayapan (ca. A.D. 1441-1461), as inhabitants of precolumbian Tâihoo continued to use preexisting wares from their former capital, particularly those within the Mayapan Red Ware and Mayapan Unslipped Ware classifications, well into the Colonial period. In the Post-Colonial period, a significant change in wares occurred as native inhabitants incorporated foreign ceramic types into their society. / Ceramics from Spain, Italy, and England, and porcelains from China and Japan, combined with colonial Mexican Majolica and preexisting Mayapan wares, illustrate the interaction of native inhabitants with European immigrants and their import goods. Although the YUC 2 collection supported the transformation of material culture after Spanish contact, the Maya, through religious practices, militaristic resistance, and oral/written traditions, were able to retain significant aspects of their precolumbian power into the colonial era and beyond. / by Rhianna C. Rogers. / Thesis (Ph.D.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Thesis (M.A.)--University of Canterbury, 2007. / Typescript (photocopy). Includes bibliographical references (leaves 185-200). Also available via the World Wide Web.

Submitted in partial fulfilment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015. / This dissertation sets out to investigate cultural dislocation in the work of Leora Farber (1964), Viviane Sassen (1972), George Alamidis (1954) and my art practice. The paper begins by highlighting the importance of this study and defines terminology for the purpose of this research. In addition an explanation of the research methodology used is provided. The study is contextualised through a discussion of writings by Stuart Hall (1997), Edward Said (1987), Heidi Armbruster (2010), Chloe Sells (2011), Katheryn Woodward (1997), Michel Foucault (1967), Leora Farber (2012) and Lorin Friesen (2013). An analysis of the selected artists’ work reveals an investigation of cultural dislocation within diverse cultural contexts. Farber investigates her position as a second generation Jewish woman in post- colonial, post-Apartheid South Africa through the use of three protagonists. She does this in an attempt to create a lasting Jewish / South African hybrid identity. She explores not only her Jewish heritage and its connotations, but also the changing notions of white identity in post 1994 South Africa. Sassen, in her photographic depiction of obscured African subjects, challenges the viewer’s perceptions of Africa and positions herself as being ‘in-between’ Africa and the Netherlands, where she “will always be the stranger … and will never be part of the culture” (Sassen in Jaeger 2010). Alamidis’ work explores cultural dislocation in the context of migration, eloquently expressed through the use of the identity cards of 1950s Greek immigrants as visual metaphors for the loss of identity. I explore cultural dislocation through the history of three female protagonists (my grandmother, mother and myself) and their migration between the Netherlands and Southern Africa. The protagonists’ cultural narratives provide an historical context for a discussion of my art practice in the form of an exhibition titled Discovering Home. The conclusion outlines the research findings and identifies possible areas of future research. The main research finding reveals that the formation of a new subject identity, post migration, is dependent on a specific (historical) time and (geographical and psychological) space. An area of possible future research, in the context of cultural dislocation, is the use of Foucault’s (1967) theory of heterotopias to explore the idea of the ‘third space’ functioning as a personal heterotopia. / M

Thesis (MPhil)--University of Stellenbosch, 2009. / Bibliography. Also available via the Internet.

Thesis (M.A.) - Simon Fraser University, 2006. / Theses (School of Communication) / Simon Fraser University.

Thesis (M.A.)--University of Montana, 2007. / Title from title screen. Description based on contents viewed Aug. 13, 2007. Includes bibliographical references (p. 47).

Thesis (Ph.D.)--University of Delaware, 2008. / Principal faculty advisor: Bernard L. Herman, Dept. of Art History. Includes bibliographical references.

Il s’agit de montrer comment la trajectoire du peintre finlandais Helene Schjerfbeck (1862-1946) est typique de celle d’une artiste femme finlandaise à la fin du XIX° siècle et au début du XX° siècle et comment, en dépit de ces caractéristiques communes, elle demeure unique dans le champ artistique national. Orienté dans une perspective de genre, ce travail rappelle le contexte socio-historique et culturel dans lequel le peintre a exercé, exploite ses données biographiques et étudie son œuvre selon certaines clefs d’interprétation proposées par les études de genre anglo-saxonnes appliquées à l’histoire de l’art, et par la sociologie de l’art. / This dissertation aims at revealing how the Finnish painter Helene Schjerfbeck’s (1862-1946) trajectory is typical of a Finnish woman artist at the end of the 19th century and the beginning of the 20th, but remains unique from national artistic viewpoint. Providing a gender study perspective, this dissertation depicts the socio-historical and cultural context in which the painter worked, builds on her biography, and interprets her output using a selection of analytical tools provided by gender studies specializing in art history, and by sociology of art.