This thesis examines the visual representations of elite women, who wielded and were seen to transgress, gendered political roles through their activity in the elite socio-political spheres of eighteenth-century and early nineteenth-century Britain. In analysing the portraits and satirical prints of this select breed of women, this study questions the common bifurcation of gender debates in existing secondary literature, which include, but are not limited to, the porosity of traditionally conceived public and private spheres, contested masculine and feminine identities, and the gendering of morals and vices. The study will explore how predominantly male artists represented these women alongside an examination of how elite women were able to manipulate and choreograph their own portrayal. As such, it will probe how these political women utilised portraiture as a crucial means of self-fashioning; and likewise how their satirical representation was routinely subjugated to the male gaze. In doing so, it will reveal the varieties, vagaries and subtleties of the political power held by women and how this could be iterated, celebrated, or criticised in the visual culture of late-eighteenth and early-nineteenth century Britain. Four case studies form this examination. The first, argues that three women from Rockingham-Whig social networks, Lady Elizabeth Melbourne, Georgiana, Duchess of Devonshire, and Hon. Anne Damer, used portraiture as a form of self-fashioning to both celebrate their friendship and declare their burgeoning political agency. Chapter two revisits the 1784 Westminster election, to probe the theme of rivalry in satirical prints representing female canvassers. It argues that the visual vocabulary expressed in such prints pertains to wider cultural debates concerning class and gender that crucially came to a head during this political event. The third chapter introduces the dialogues between portraiture and satirical prints through its examination of the visual media that politicised Scottish Pittite hostess, Jane, Duchess of Gordon. Whilst the duchess used painted portraiture to proclaim her adherence to culturally-inscribed gender roles, satirical prints attacked her for her perceived political access, acquired through her daughters’ marriages and through her close proximity with prominent members of the Pittite government. The thesis concludes with a study of arguably the most political woman in the period of study: Queen Charlotte, consort of George III. This chapter revisits her reputation, arguing that a close examination of visual culture reveals that the queen, long thought to be an uncontroversial figure, became deeply problematic after the king’s bout with ‘madness’. In seeking to connect the visual aspects of women’s political engagement, this thesis expands on previous work in gender, social, cultural, and art histories such as those by Elaine Chalus, Cindy McCreery, Marcia Pointon, and Kate Retford to further our understanding of women’s political activity and eighteenth-century visual culture.

Jag har i mitt projekt jobbat med mönsterformgivning och produktion av vävda möbeltyger, digitaltryckta tapeter- och textilier för en fiktiv hemmiljö. Mina designbeslut grundar sig på en fiktiv karaktär, Mr Chester Jester, hans estetiska preferenser och behov i samrådan med mina egna. Arbetets resultat är en gestaltning av världen han lever i, komprimerad till ett hemma hos reportage på gränsen mellan verklighet och illusion. Jag har jobbat med dubbelhet och speglingar - av mönster, av rummet, av tekniker och mig själv. Jag har undersökt illusionens verklighet och verklighetens illusion.My bachelor project is a work of pattern design and production of woven upholstery fabrics, digital prints on textile materials and wallpaper, made for a fictional home environment. The desicions for the designs are based on a fictional character, named Mr Chester Jester. His preferences and needs combined with my omn are the result of this project. The outcome of the work is a formation of his world, made into a study of his home on the edge of reality and illusions. It is a work of duplicities -of pattern, room, technique and of an alternate side of myself.I have investigated the illusion of reality, and the reality of illusions. / Program: Textildesignutbildningen

本文主要研究十九世紀末二十世紀初的一種傳統民間藝術--年畫。這短短的幾十年見證了在中國發生的一系列翻天覆地的社會政治變化：清政府的垮臺，外國勢力的入侵，以及西方先進技術與思想的引入；這些變化我們都可以在這一時期的年畫中找到。本文的地點範圍主要集中于天津楊柳青，另外其他中國北方的年畫產地的年畫，如武強、楊家埠，以及江蘇的桃花塢等，也會在文章因行文需要而被提到。總的來說，本文分為三個大部份，也就是年畫的生產、內容和消費。我認為這些新內容之所以在年畫中出現主要有三個原因：首先，西方先進印刷技術和新的繪畫風格的引入讓年畫內容的轉變有了可能性；其次一些維新人士創辦的畫報和報刊也對年畫的發展產生了影響；最後便是民初時期民國政府採取的對年畫的干涉。本文將這些在年畫中出現的新的主題進行了詳細的探討。一方面，我們可以發現反帝和其他愛國的內容被放入年畫，以此激發百姓的愛國情緒。與傳統年畫主要關注家庭這一點不同的是，改良年畫的重心放在了保衛國家這個更高的主題上。另一方面，在這類年畫中，婦女不再被認為是男人的附屬品，它們鼓勵婦女實現經濟和人格上的獨立，並且有必要的話，也可以成為士兵，加入到保家衛國的行列中。最後一方面，西方先進事物的引入，如鐘錶、自行車、火車和飛機等，為大眾引領了一種新的物質文化，也在不知不覺中改變中百姓的日常生活習慣。作為結論，我提出改良年畫是大眾文化和精英文化互動產生的結果。它們大多數都是在民國政府的提倡之下而生產的，但是年畫的商業本質決定了它需要有一定的市場以保證盈利。這樣，傳統年畫的形式被保留了下來，同時改革家和當權者為其填入了新的思想和觀念，用來教育廣大百姓。這種“舊瓶裝新酒的宣傳方式雖然效果在清末民初效果不佳，但是它卻在某種程度上為中國作為一個現代國家的出現奠定了基礎。 / This research examines nianhua年畫 (New Year pictures), a form of traditional folk art, from the late nineteenth to the early twentieth centuries. This time period witnessed a series of dramatic social and political changes in China: the collapse of Qing Dynasty, invasions of foreign powers, and introduction of Western advanced technologies and ideas, all of which could be found in nianhua prints. The spatial focus is mainly on Yangliuqing楊柳青, a town very close to Tianjin. However, nianhua produced in other places in North China, such as Wuqiang武強 and Yangjiabu楊家埠, and those from Taohuawu桃花塢 in the Yangzi River Delta, will also be mentioned, for some of them are of great use in my writings. Generally, this study has three sections: the production and circulation of nianhua in Yangliuqing, the contents of nianhua with new elements, and how common people reacted to the reformed nianhua. I demonstrate that the import of Western advanced printing technologies and painting styles, pictorials and vernacular newspapers published by social reformers, and the involvement of Republican government were the major reasons for the appearance of new elements in nianhua. Then the new themes in nianhua are discussed in details. First of all, anti-imperialist and other patriotic topics are found to arouse nationalist sentiments among the masses. The emotions in new nianhua started to shift from protecting home and family to defending the nation. At the same time, women were no longer treated as men’s subordinate; instead, they were also encouraged to earn their own bread and even go to the battlefield to save their country. Finally, the imports of Western inventions, such as clocks, bikes, trains, and planes, emerged in nianhua, building a new material culture for the common people. I conclude that reformed nianhua was a result of the interaction between popular culture and elite culture. Most of them were advocated by the Republican officials; but the commercial nature of nianhua determined that it needed to have market amog consumers. The form of traditional nianhua was kept, while social reformers and authorities fill new values and beliefs into it to educate the common people. This “new-wine-in-old-bottles way of propaganda resulted in limited success; but to some extents it paved the way for the emergence of a modern nation. / Detailed summary in vernacular field only. / Wan, Mi. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 150-159). / Abstracts also in Chinese. / List of Figures --- p.v / Chapter Chapter 1 --- Introduction --- p.1 / Chapter 1.1 --- Statement of Research Problem --- p.1 / Chapter 1.2 --- Nianhua: The Background --- p.6 / Chapter 1.3 --- Methodology --- p.8 / Chapter 1.4 --- Literature Review --- p.13 / Chapter 1.5 --- Structure of the Thesis --- p.22 / Chapter Chapter 2 --- From Festivity to Propaganda: Nianhua’s Political and Educational Roles --- p.24 / Chapter 2.1 --- The Production and Circulation of Nianhua in North China --- p.25 / Chapter 2.2 --- The Influence of Printing Technical Improvement and Western Painting Styles on Nianhua --- p.32 / Chapter 2.3 --- Nianhua and Social Reform Promoters in the Late Qing --- p.41 / Chapter 2.4 --- Nianhua as a Popular Education Tool in the Republican Era --- p.53 / Chapter Chapter 3 --- From Protecting My Home to Defending My Nation: Nationalism in Nianhua --- p.68 / Chapter 3.1 --- Nation, Nationalism, and National Identity --- p.70 / Chapter 3.2 --- When China Confronted the West --- p.73 / Chapter 3.3 --- Anti-Imperialism in Nianhua --- p.83 / Chapter 3.4 --- Attitudes towards the Qing Government --- p.90 / Chapter Chapter 4 --- Gender in Nianhua --- p.95 / Chapter 4.1 --- Women’s Appearance and Female Warriors in Nianhua --- p.98 / Chapter 4.2 --- Promotion of Women’s Education in Nianhua --- p.106 / Chapter Chapter 5 --- Import of Western Objects and Interpretation of the Western World --- p.119 / Chapter 5.1 --- The Clock --- p.119 / Chapter 5.2 --- The Bicycle --- p.125 / Chapter 5.3 --- The Plane --- p.128 / Chapter 5.4 --- The Train --- p.130 / Chapter Chapter 6 --- Conclusion --- p.138 / Bibliography --- p.150

As manifestações culturais e artísticas surgiram no setor têxtil ainda nos primórdios da humanidade, utilizando-se, desde então, de pigmentos vegetais, e criando uma verdadeira aliança entre o ser humano, a natureza e o mundo do desenho. A moda retrata aspectos do vestuário desde o início da história do homem até a atualidade, relatando a estreita ligação com as tendências globalizadas. A moda, enquanto conseqüência do mundo econômico, reflete os acontecimentos sociais, culturais, políticos, econômicos e ambientais. O presente estudo visa a introduzir os conceitos estruturais a respeito da cor, desde a sua definição até a ilustração dos ícones aos quais está associada. Introduz ainda a estamparia, que é das mais exigentes técnicas têxteis, e também a que mais se aproxima da Arte, indicando sua origem, fontes de inspiração, os diversos processos de fabricação e sua aplicação, desde os processos manuais até os digitais. Esta pesquisa versa sobre a importante e estratégica etapa de Pesquisa de Tendências, através de várias fontes, principalmente a Internet, a seleção de produtos junto aos vários profissionais, e, finalmente, o desenvolvimento de produtos têxteis nas fábricas, a necessidade de utilização de todo o maquinário disponível na tecelagem, na tinturaria e na estamparia. / Cultural and artistic demonstrations started in the textile sector at the very beginning of humankind, creating a alliance between the human being, nature and the world of design. They outline fashion and have displayed features of clothing since the early ages, telling the strong connection with world trends. Fashion is a reflexion of social, political, economical (and currently environmental) events, as a consequence of the economic world. The present research aims to introduce the structural concepts of color, from its definition to the illustration of the icons to which it is associated. It also introduces prints, which is one of the most demanding textile techniques, and is also the closest to art, demonstrating sources of inspiration, several manufacturing processes and applications, from manual to technological processes. It shows the import and strategic stage of trends research, from several sources, mainly by internet; the selection of products along several professionals and, finally the development of textile products in the factories a requirement of the use of all available machinery weaving as well as coloring and printing.

Texte remanié de : Dissertation, Kunstgeschichte, Freie Universität Berlin. / Bibliogr. p. 321-338.

This thesis focuses on the modern Japanese artist Takehisa Yumeji (1884-1934) and his diverse range of graphic production, from illustrations in socialist newspapers and magazines with images of anti-war and leftist sentiment to fashionable images of beautiful women, referred to as "Yumeji-style beauties" (Yumeji-shiki bijin) in newspaper illustrations, coterie magazines, postcards, frontispieces, posters, and advertisements. Such works circulated widely and within the context of a growing female readership and the emergence of a new media environment that transformed the print medium from its "floating world" profile of the previous century into a technically diverse medium of modern visual culture and avant-garde pictorialism. Yumeji's graphic works participated in the generation of new kinds of modern identity. An extensive consideration of Yumeji's life and works reveals his role in the cultivation of a new demography of viewers and readers. / History of Art and Architecture

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Teilveröffentlichung aus: RISM, Serie A/II Musikhandschriften nach 1600

Baigiamajame magistro darbe ištirtas ofsetinių dažų poveikis skirtingų popierių struktūrinėms, optinėms ir mechaninėms savybėms. Atliktas palyginimas tarp balto popieriaus, nepadengto dažų sluoksniu, su atspaudais, padengtais keturiais skirtingais dažų sluoksnio storiais. Nustatyta, kurie popieriai esant tam tikram dažų sluoksnio storiui turi mažiausią bei didžiausią atsparumą mechaninėms savybėms, blogiausias ir geriausias optines savybes. Eksperimentiškai ištirtos šešių popierių, ofsetinių atspaudų trinties savybės ir nustatyti statinės ir kinetinės trinties koeficientai. Nustatytos šių koeficientų vertės tarp popieriaus ir popieriaus, tarp popieriaus ir atspaudo ir tarp atspaudo ir atspaudo. Darbo apimtis – 67 teksto be priedų, 45 iliustracijos ir 2 lentelės. / The thesis investigated inks effects of the different papers structural, optical and mechanical properties. Performed comparison between the white paper, uncoated inks layer, with printed, coated in four different inks thickness. It was found which papers and with which kind of coated inks thickness have minimum and maximum resistance of mechanical properties, the best and the worst optical properties. Experimentally investigated six different papers and offset prints friction properties and determined the static and kinetic coefficients of friction. These coefficients determined between the paper and the paper, the paper and print, and the print and print. Space of works – 67 pages of text without additions, 45 figures, 2 tables.