Thesis--Uppsala. / Extra t.p., with thesis statement, inserted. Bibliography: p. 76-80.

Thesis (Ph. D.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves [253]-259).

Thesis (M.A.)--University of California, Santa Cruz, 1983. / Typescript. Includes bibliographical references (leaves 204-209).

Tha an t-ath-mheasadh a' sònrachadh cuideam sòisealta 'na Gàidhealtachd mar shealladh': ma leughar an snàithlean gu faiceallach, cuiridh e ri tuigse air an dàimh eadar na daoine mòra agus na Gàidheil tro bhreisleach na naoidheamh linn deug. Tha an gnàthnòs air a chùlaibh a' dèanamh cron air dearbh-aithne nan Gàidheal, ge-tà. Ann am peantadh, chaidh cumhachd a' ghnàth-nòis sin a bhriseadh leis 'a' Ghàidhealtachd mar dhualchas'. 'S ann tron dòigh-fhradhairc seo a bu chòir traidiseanan lèirsinneach na Gàidhealtachd a thaisbeanadh san latha an-diugh. Tron dàrna leth den naoidheamh linn deug, tharraing cruth-tìre na Gàidhealtachd ceudan de luchd-ealain. Gu tric, dhealbhaich iad an roinn mar àite sìtheil bòidheach anns an d'fhuaras co-luadair 'fa leth' stèidhichte traidiseanta. Dh'ùisnich peantairean grunn de dh'fhoirmlean ann a bhith a' dèanamh seo. Ro mheadhan na ficheadamh linn, chaidh na foirmlean seo aithneachadh leis na breithnichean-ealain mar 'an gnàth-nòs Gàidhealach'. Chaidh a chumail a-mach leotha gun robh an gnàth-nòs ath-aithriseach ro-mhaothinntinneach, agus nach do riochdaich e atharrachaidhean na naoidheamh linn deug air a' Ghàidhealtachd. Tha an tràchdas seo ag ùisneachadh teòraidhean nan saidheansan sòisealta gus athmheasadh a dhèanamh air ìomhaighean na trèimhse. Tha e a' tagradh gun robh dà shnàithlean aig na dealbhan-tìre den Ghàidhealtachd. B' e 'a' Ghàidhealtachd mar shealladh' a bh' anns an dàrna fear agus thaisbean e mì-thuigse air co-luadair na roinne. Chaidh a leasachadh tro phròiseas-cuairteachaidh agus bha àite aige ann a bhith a' daingneachadh gnàth-nòs air an do chuir uachdarain na Gàidhealtachd tùs. B' e 'a' Ghàidhealtachd mar dhualchas' a bh' anns an t-snàithlean eile. Dh'èirich i a-mach à traidisean peantaidh na h-Alba agus rannsaich i an dàimh eadar na Gàidheil, an àrainneachd nàdarrach agus tìm. B' e fìor aomadh-ealain a bh' innte: tha àite cudromach aice ann an eachdraidh-ealain na Gàidhealtachd, agus lorgar i cuideachd ann an eachdraidh-ealain Eòrpaich nas fharsainge.

Nineteenth-century writers and modern scholars have agreed that there was a major shift in the practice of landscape painting in England around the turn of the nineteenth century. Paintings by up-and-coming artists such as J. M. W. Turner, Thomas Girtin, and A. W. Callcott were seen to exhibit a concern for atmospheric effects and an "expressivity" lacking in earlier works. This shift has often been explained by invoking artistic genius: the keen intellect and sensibility of the artistic producer has served as a self-evident explanation of the rise to prominence of this form of landscape painting. This study endorses the centrality of the artistic subject to the enterprise of landscape painting, but disputes the notion that genius is a natural and self-evident phenomenon. It is argued here that the native landscape genius was a category of the creative individual which was socially produced at this historical moment in conjunction with or in opposition to other contemporaneous formulations of the artist. This examination of artistic subjectivity as determined by gender, social status, education, wealth, and so forth, is organized around three interrelated subject positions: the "man of letters" derived from the notion of the academic history painter, the "market slave," a negative construction of the artist who was seen to pander to the demands of the market and the "imaginative man of genius." The inscription of these positionalities in landscape imagery i s contingent upon a range of historically specific social phenomena. The discussion focuses particularly upon the discourse of nationalism during and immediately after the Napoleonic wars, epistemoiogical debates concerning the type of knowledge appropriate for a commercial society, and the discourse on the market as it relates to the circulation of paintings as cultural commodities. Determining the relationship of the artistic subject to these various social phenomena involves an examination of the physical spaces in which paintings were displayed and exhibited, the discursive spaces in which they were discussed and evaluated—including art criticism, aesthetic treatises, illustrated county histories and social and political commentary—and the institutional practices which shaped their production and reception. The power and appeal of the landscape genius, I argue, lay in its ability to a serve broad range of social interests in negotiating successfully the seemingly contradictory demands of the market in luxury commodities and of a social ideal of Englishness marked by independence, intellectual power and sensibility. The genius's imaginative encounter with external nature provided it with an alibi which served to obscure it s activities as an economic producer in a highly competitive market society. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Thesis (Ph. D.)--Princeton University, 1988. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 325-380).

Thesis (M.Visual Arts) -- La Trobe University, 2006. / Research. "An exegesis submitted in partial fulfilment of the requirements for the degree of Master of Visual Arts by Research, School of Visual Arts and Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora". Includes bibliographical references (leaves 87-92). Also available via the World Wide Web.

Thesis (M.F.A.)--Rochester Institute of Technology, 1987. / Typescript. Includes bibliographical references (leaf 32).

Thesis (M.A.)--State University of New York at Binghamton, Department of Anthropology, 2009. / Includes bibliographical references.

Thesis (Ph. D.)--University of California Los Angeles, 1977. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 395-418).