Thesis (Ph. D.)--University of California, Los Angeles, 1987. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 387-421).

Thesis (Ph. D.)--Rutgers University, 2008. / "Graduate Program in Art History." Includes bibliographical references (p. 346-362).

Thesis (Ph. D.)--University of California, Los Angeles, 1987. / Vita. Includes bibliographical references (leaves 387-421).

Thesis (Ph.D.) - University of St Andrews, June 2008.

This thesis examines the conflicted relationships between the construction of a national culture and identity located in landscape painting and the continuing presence of Native art and identity in Canada in the 1920s. It contends that the first was predicated on the assumed disappearance of the second. The first of five case studies examines and questions the validation of the Group of Seven at the imperial centre: the British Empire Exhibitions held at Wembley in 1924 and 1925, from which Native presence was excluded. The critical responses, collected and republished in Canada, are analyzed to show the unspoken influences of British landscape traditions, the means by which Group paintings were used to re-territorialize the nation, and to destabilize the myth of an essential Canadian national consciousness. The first confrontation between Canadian native and Native art occurred when a small group of Northwest Coast carvings was included within a related exhibition in Paris in 1927. The French critical responses validated the Native pieces but withheld recognition of the Group's works as national and modern. The reviews were collected but suppressed. The third study examines the work of the American artist Langdon Kihn. He was employed by the Canadian National and Canadian Pacific Railways to work with the folklorist/ethnologist Marius Barbeau in producing images of the Stoney in Alberta and Gitksan in British Columbia. His ambiguous works supported claims to Native presence and cultural continuity, which ran contrary to repressive government policies, but were critically disciplined to ensure a message of discontinuity. The fourth investigates a program to restore the poles of the Gitksan, while changing their meaning to one signifying cultural decrepitude. Gitksan resistance testified to their agency, cultural continuity and identity. The fifth examines a program fostered by Barbeau to turn the Gitksan and their poles into the subjects of Canadian painting as "background" for the emerging nation's identity. This confrontation, which included Jackson, Carr and others, foregrounded all the problems. The exhibition which resulted in 1927 unsuccessfully attempted to join Canadian native and Native art and effect closure on the "narration of the nation".

Thesis (M.A.)--Carleton University, 1995. / Includes bibliographical references.

This thesis examines the conflicted relationships between the construction of a national culture and identity located in landscape painting and the continuing presence of Native art and identity in Canada in the 1920s. It contends that the first was predicated on the assumed disappearance of the second. The first of five case studies examines and questions the validation of the Group of Seven at the imperial centre: the British Empire Exhibitions held at Wembley in 1924 and 1925, from which Native presence was excluded. The critical responses, collected and republished in Canada, are analyzed to show the unspoken influences of British landscape traditions, the means by which Group paintings were used to re-territorialize the nation, and to destabilize the myth of an essential Canadian national consciousness. The first confrontation between Canadian native and Native art occurred when a small group of Northwest Coast carvings was included within a related exhibition in Paris in 1927. The French critical responses validated the Native pieces but withheld recognition of the Group's works as national and modern. The reviews were collected but suppressed. The third study examines the work of the American artist Langdon Kihn. He was employed by the Canadian National and Canadian Pacific Railways to work with the folklorist/ethnologist Marius Barbeau in producing images of the Stoney in Alberta and Gitksan in British Columbia. His ambiguous works supported claims to Native presence and cultural continuity, which ran contrary to repressive government policies, but were critically disciplined to ensure a message of discontinuity. The fourth investigates a program to restore the poles of the Gitksan, while changing their meaning to one signifying cultural decrepitude. Gitksan resistance testified to their agency, cultural continuity and identity. The fifth examines a program fostered by Barbeau to turn the Gitksan and their poles into the subjects of Canadian painting as "background" for the emerging nation's identity. This confrontation, which included Jackson, Carr and others, foregrounded all the problems. The exhibition which resulted in 1927 unsuccessfully attempted to join Canadian native and Native art and effect closure on the "narration of the nation". / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Thesis (M.A.)--University of Montana, 2007. / Title from title screen. Description based on contents viewed Sept. 25, 2007. Includes bibliographical references (p. 46).

No description available.

This thesis is an ethnographic account of the carving of wooden ritual statues and of the shamanic figure of the seer among the Kuna of the San Blas archipelago of Panamá. Through a study of the production of wooden ritual statues and of the birth and initiation of seers, I show that the distinction between the visible and the invisible, and between designs and images, is a crucial aspect of Kuna ways of thinking and experiencing their world. On one hand, the Kuna theory of design shows the importance of the development of social skills in the creation of person and sociality. On the other hand, the Kuna concept of image points to the relation between human and ancestral beings and to the transformative capacities of both. Through the constant interplay of the two categories, people interact with cosmic forces and create social life. The ethnography explores three aspects of the problem. First, the relationship between the islands inhabited by Kuna people and the mainland forest is described, focusing on the distance and separation of the two domains. The forest is perceived as a space populated by ancestral animal and tree entities, as well as demons and souls of the dead. Second, the carving of the ritual statues and the skill of Kuna carvers are described in relation to human and supernatural fertility. The birth of seers, different from that of other babies, provides evidence of the importance of natal design as the potential skills of each person. Third, relationships between human and supernatural beings are described considering Kuna myth and ritual action, in comparison with other indigenous American societies. This thesis concludes that it is through carving wooden statues and developing the capacity to see, Kuna people seek security in social life and protection from a predatory cosmos.