Thesis (M.Sc.)--University of Hong Kong, 2003. / Includes bibliographical references.

Thesis (M.A.)--Catholic Theological Union at Chicago, 2005. / "May 2005." Includes vita. Includes bibliographical references (leaves 28-29).

Thesis (M.A.)--Catholic Theological Union at Chicago, 2005. / "May 2005." Includes vita. Includes bibliographical references (leaves 28-29).

Thesis (M.S.)--University of North Carolina at Greensboro, 2007. / Title from PDF title page screen. Advisor: Patrick Lee Lucas; submitted to the School of Human Environmental Sciences. Includes bibliographical references (p. 63-66).

Thesis (M. Arch.)--Montana State University--Bozeman, 2007. / Typescript. Chairperson, Graduate Committee: Ferd Johns. Includes bibliographical references (leaves 82-83).

No description available.

The core themes in Thai art have traditionally been didactic Buddhist ethical works and popular folkloric beliefs. Both are permeated with a cosmology and worldview that is supernatural but which is pervaded with ethical implications for people’s daily lives. Buddhist art aims to encourage selfless acts for the good of others, including other individuals, society, the country and the natural world. Such abstract themes have been rendered accessible to ordinary people by means of fantastical creatures and supernatural myths that insinuate moral values and demonstrate a coherent Theravada worldview that is uniquely Thai. This thesis explores the popular manifestations of such phenomena at the intersection of traditional folk beliefs and practices, popular entertainment, Thai official/ royal high culture and confessional Buddhist ethical instruction by analysing the art forms associated with temple fairgrounds at major festivals. Based on a review of related literature and analysis of Thai artists, it concludes that the renaissance of traditional Thai culture is reciprocal with authentic grassroots activities such as temple fairs fostered and supported by traditional patronage and cultural resources from the royal court culture and Buddhist ethics. Based on this analysis, my own work offers a modern rendering in the spirit of traditional forms utilising modern multimedia methods to create an immersive and interactive artistic experience.

Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010 / The purpose of this research is to investigate whether street artists make statements about current socia-political affairs as a form of popular protest and whether those statements can be reflected in another design discipline. such as jewellery design. while reflecting upon the work of Faith47. a South African social commentator. Cultural studies has been referenced as a theoretical framework in relation to cultural sup-groups and. a historic context is provided in order to better understand the significance of social commentary in graffiti, a form of street art produced by social sub-qroup, and made during a period known as Apartheid and currently. in Post-Apartheid South Africa. A range of jewellery then emerged from the research. dealing with the aspects of social-political commentary. as an interpretation of a form of protest art and applied to wearable jewellery. The products incorporate word and images that are provocative and invite the viewer to question and reflect upon what in my view was a contentions and significant period in the history of South Africa.

Thesis (MTech (Interior Design))--Cape Technikon, 1993. / The origins of the research activities which constitute this dissertation can be traced to a proposal in 1991 to write a history assignment on the retrospective influence of interior design in the factory environment. A subsequent search for relevant information proved largely unsuccessful, resulting in the temporary suspension of further investigations into the topic. However, these enquiries provoked a piquant interest in the feasibility of applying interior design principles in the factory environment. The challenge presented by the lack of reference to the role of interior design in the factory environment, in conjunction with a dearth of literature pertinent to the history of industrial architecture, served as impetus for the background investigation which led to a successful proposal that my National Higher Diploma be based on the practical design of factory interiors.

No description available.