Thesis (MA (Hons.)) -- University of Western Sydney, Nepean, 1997. / Bibliography : leaves 54-56.

3 ABSTRACT Humankind in its whole being is reflecting an environment by culture and visual art. Different cultural periods value nature and environment differently, what have a strong impact on nature management - some culture periods have a strong feeling for protecting nature for its own value while others see nature just as a source of materials or energy. This relationship is possible to find in art artifacts made during particular culture period. The communistic idea was ruling for almost half of the twentieth century in former Czechoslovakia. And its point of view has strong negative impact on state of nature and environment. As an official style of art socialist realism was approved at the same time. Its main goal was portraying a new communistic world, new communistic society and new communistic man. Aim of this work is to find out how the socialistic realism displays nature and landscape topic in art pieces. In core of this work stays the assumption, that socialistic realism has no value for nature itself, on the contrary it appreciates only it's rebuilding for easier exploitation. Findings are based on study of theoretical art texts and art-pieces from the period 1945 - 1958. Keywords: nature, landscape, aesthetic, art, socialist realism, landscape painting

This dissertation examines landscape as a concept for analysis and interpretation in film studies by considering the New Hollywood cinema in the late 1960s and early 1970s. Contextualized within the contested notion of nationhood at the time as well as the concern among filmmakers to probe the properties, practices and traditions of American cinema, this was also a period when landscape underwent widespread redefinition as a field of artistic and academic practice. From the outset an aesthetic and pictorial concept, landscape is understood as consisting of a number of interacting ideas and systems of representation which are addressed in terms of intermedial relations. Not something to be encountered or discovered and fixed on canvas or film, landscape involves an ongoing process of construction, appropriation and transformation. Departing from a discussion of the historical role landscape has played in cultural practices of self-representation and self-definition, this study is concerned with how it can be turned against itself and used as a point of departure for adversary and antagonistic views of national myths and media. The organization is roughly chronological, based around a series of reconsiderations of key films, mainly focusing on road movies and genre-revisionist work of the period. Rather than a repository of stable identities and values, each chapter shows how landscape can be advanced in a process of reflecting on attempts to impose meaning, order and linearity. Taken together, Out of Site argues that an engagement with the surfaces and depths of landscape enables new perspectives on the interrelations between the highbrow and the popular, aesthetics and ideology. Bringing attention to how story patterns and audience expectations are displaced, landscape is examined for the questions it raises regarding representational and narrative strategies, the formation of identity and memory, and our own habits of reading.

Thesis (M.C.A.-Res.)--University of Wollongong, 2008. / Typescript. Includes bibliographical references: leaf 34-35.

Thesis (M.C.A.-Res.)--University of Wollongong, 2007. / Typescript. Includes bibliographical references: leaf 49-54.

This thesis explores the intersections of culture, nationalism, and neoliberal globalization through examination of the construction of Mexican identity in Canada after the implementation of the North American Free Trade Agreement (NAFTA) in 1994. I evaluate how visual art has been used by the governments of Canada and Mexico to negotiate new bilateral relationships in the face of increased North American integration under free trade. My study includes analysis of two Canada-based exhibitions, “Mexican Modern Art, 1900-1950” and “Panoramas: The North American Landscape in Art.” Framing my discussion within the larger history of North American integration, I argue that these two exhibitions are part of a larger exchange in the area of cultural diplomacy between Canada and Mexico, which was especially prominent at the turn of the millennium. These case studies provide a means to assess the manipulation of culture, the creation of a new North American identity, and the management of national/ist narratives within the larger project of neoliberal globalization. Critically situating my study within the current discourse of globalization theory, I contend that artworks in these exhibitions were positioned in a manner to positively reinforce new trade relationships under NAFTA. / Thesis (Master, Art History) -- Queen's University, 2008-08-20 15:05:45.256

This dissertation aims to explore aspects of topographical drawing in nineteenth century Natal. It has as its centrepiece the drawings of John Dobie (1819-1903). It is argued that topographical drawing is enmeshed in the landscape and its attendant cultural discourse. On this basis an analogy is drawn between topographical drawing and navigation. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 1997.

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