Thesis--University of Michigan. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Inaug.-Diss.--Basel.

Thesis (Ph. D.)--University of Michigan, 1951. / Vol. 2.: Forty-six representative motets. Includes bibliographical references (v. 1, leaves 205-219). Also issued in print.

Thesis (Ph. D.)--University of Michigan, 1951. / Vol. 2.: Forty-six representative motets. Includes bibliographical references (v. 1, leaves 205-219).

Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposé au Service de la gestion des documents et des archives de l'Université de Montréal. / L’exposition Orazio and Artemisia Gentileschi : Father and Daughter Painters in Baroque Italy se tint au Metropolitan Museum of Art à New York du 14 février au 12 mai 2002. De tout ce qui fut écrit en lien avec cet événement, il ressort deux tendances principales. Tandis que certains clament la prééminence d’Orazio Gentileschi sur sa fille en se basant sur le message véhiculé tant dans l’exposition que dans son catalogue, d’autres, rassemblés autour des féministes, remettent en question cette vision en relevant les partis-pris culturels jouant en défaveur des femmes. Le jumelage expositionnel constitue un événement muséal temporaire dans lequel deux artistes sont juxtaposés afin de faciliter un jugement comparatif. Parmi les épisodes récents de cette nature, on compte notamment Matisse-Picasso. Nous nous pencherons ensuite sur deux artistes issus d'une même famille, mais appartenant à deux générations différentes, à savoir : Orazio et Artemisia Gentileschi. En relation avec l’exposition qui leur fut dédiée en 2002, nous nous demanderons plus précisément comment la prédominance que désiraient accorder les commissaires à Orazio Gentileschi s'articule devant la célébrité affirmée d’Artemisia depuis 1916. Le dossier critique de l'événement servira de point de départ à notre étude. Toute exposition constituant un discours, nous analyserons les commentaires et critiques provenant tant des revues savantes que populaires. La théorie de la réception de Stuart Hall aidera à catégoriser les différentes interventions selon qu'elles appartiennent au code hégémonique, c'est-à-dire à la vision exprimée par les commissaires, au code oppositionnel, correspondant ici à la critique féministe, ou encore au code négocié qui représente une synthèse des deux tendances précédemment mentionnées. / Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy took place at the Metropolitan Museum of Art in New York from 14 February 14 to 12 May 2002. Of all that was written about the event, two main tendencies stand out. While some claim Orazio’s preeminence by basing their assumption on both the exhibition and its catalogue, feminists call into question this assumption by drawing attention to cultural biases that disfavor women’s artistic recognition. The exhibitional pairing formula constitutes an extension of this phenomenon by allowing the public to make up their own judgement. Among recent episodes of that nature, we can think of Matisse-Picasso. We are also going to study two artists of the same family, to wit, Orazio and Artemisia Gentileschi. Relative to the exhibition dedicated to them in 2002, we are going to ask ourselves how Orazio’s dominance defended by the two exhibition organizers is articulated with Artemisa’s celebrity. The critical dossier of the event will serve as the starting point of our analysis. Considering that every exhibition constitutes a discourse, we are going to examine both popular and academic comments and critiques of the event. Stuart Hall’s reception theory is also going to assist us in determining if these interventions belong to the exhibition curators’ dominant code, the feminist critique’s oppositional code or the negotiated code that represents a blend of the former two positions.

L’exposition Orazio and Artemisia Gentileschi : Father and Daughter Painters in Baroque Italy se tint au Metropolitan Museum of Art à New York du 14 février au 12 mai 2002. De tout ce qui fut écrit en lien avec cet événement, il ressort deux tendances principales. Tandis que certains clament la prééminence d’Orazio Gentileschi sur sa fille en se basant sur le message véhiculé tant dans l’exposition que dans son catalogue, d’autres, rassemblés autour des féministes, remettent en question cette vision en relevant les partis-pris culturels jouant en défaveur des femmes. Le jumelage expositionnel constitue un événement muséal temporaire dans lequel deux artistes sont juxtaposés afin de faciliter un jugement comparatif. Parmi les épisodes récents de cette nature, on compte notamment Matisse-Picasso. Nous nous pencherons ensuite sur deux artistes issus d'une même famille, mais appartenant à deux générations différentes, à savoir : Orazio et Artemisia Gentileschi. En relation avec l’exposition qui leur fut dédiée en 2002, nous nous demanderons plus précisément comment la prédominance que désiraient accorder les commissaires à Orazio Gentileschi s'articule devant la célébrité affirmée d’Artemisia depuis 1916. Le dossier critique de l'événement servira de point de départ à notre étude. Toute exposition constituant un discours, nous analyserons les commentaires et critiques provenant tant des revues savantes que populaires. La théorie de la réception de Stuart Hall aidera à catégoriser les différentes interventions selon qu'elles appartiennent au code hégémonique, c'est-à-dire à la vision exprimée par les commissaires, au code oppositionnel, correspondant ici à la critique féministe, ou encore au code négocié qui représente une synthèse des deux tendances précédemment mentionnées. / Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy took place at the Metropolitan Museum of Art in New York from 14 February 14 to 12 May 2002. Of all that was written about the event, two main tendencies stand out. While some claim Orazio’s preeminence by basing their assumption on both the exhibition and its catalogue, feminists call into question this assumption by drawing attention to cultural biases that disfavor women’s artistic recognition. The exhibitional pairing formula constitutes an extension of this phenomenon by allowing the public to make up their own judgement. Among recent episodes of that nature, we can think of Matisse-Picasso. We are also going to study two artists of the same family, to wit, Orazio and Artemisia Gentileschi. Relative to the exhibition dedicated to them in 2002, we are going to ask ourselves how Orazio’s dominance defended by the two exhibition organizers is articulated with Artemisa’s celebrity. The critical dossier of the event will serve as the starting point of our analysis. Considering that every exhibition constitutes a discourse, we are going to examine both popular and academic comments and critiques of the event. Stuart Hall’s reception theory is also going to assist us in determining if these interventions belong to the exhibition curators’ dominant code, the feminist critique’s oppositional code or the negotiated code that represents a blend of the former two positions. / Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposé au Service de la gestion des documents et des archives de l'Université de Montréal.

Artemisia Gentileschi and Caravaggio's Looking Glass is an ironic allusion to both the concave mirror and the biconvex lens. It was these simple objects, in colloquial terms a shaving mirror and a magnifying glass, which Artemisia Gentileschi and her father Orazio, learned from Caravaggio how to use to enhance the natural phenomenon of the camera obscura effect. Painting from a projection meant that Artemisia could achieve an extreme form of realism and detail in her work. This knowledge, which was of necessity kept hidden, spooked the Inquisition and also gave artists, who knew how to manipulate the technology, an extreme competitive edge over their rivals. This dissertation challenges the naive assumptions that have been made about Artemisia's working practices, effectively ignoring the strong causal links between art and science in Seicento Italian painting. Introducing the use of optical aids by Artemisia opens up her story to a whole new generation of scholarship. / Art History / M.A. (Art history)

Artemisia Gentileschi and Caravaggio's Looking Glass is an ironic allusion to both the concave mirror and the biconvex lens. It was these simple objects, in colloquial terms a shaving mirror and a magnifying glass, which Artemisia Gentileschi and her father Orazio, learned from Caravaggio how to use to enhance the natural phenomenon of the camera obscura effect. Painting from a projection meant that Artemisia could achieve an extreme form of realism and detail in her work. This knowledge, which was of necessity kept hidden, spooked the Inquisition and also gave artists, who knew how to manipulate the technology, an extreme competitive edge over their rivals. This dissertation challenges the naive assumptions that have been made about Artemisia's working practices, effectively ignoring the strong causal links between art and science in Seicento Italian painting. Introducing the use of optical aids by Artemisia opens up her story to a whole new generation of scholarship. / Art History / M.A. (Art history)

Customer satisfaction is a key concern in any business strategy. It is often assumed that customer satisfaction can be enhanced using e-services. E-service is defined as interactive service received via the Internet (Jiang et al., 2013). E-service has contributed to business-to-consumer (B2C) e-commerce by providing on-demand solutions to customers. The relationship with the customer is enhanced by introducing self-service options, product customisation and variety. However, there may also be negative impacts, such as techno-stress and lack of online customer assistance. The primary aim of this research was to develop a conceptual framework to describe the correlation relationship between the factors that influence customers’ adoption of e-services. Organisations use the Internet to attract customers, to conduct financial services and obtain information. This research focussed specifically on online shopping. The Grounded Theory research methodology was chosen for its flexibility and iterative comparison of data. A quantitative survey was conducted to determine the relative significance of the factors uncovered by the Grounded Theory methodology and to validate the hypothesis of the conceptual model. Customer adoption is attained where customer satisfaction is high, where the customer sees value in the service, and where there is customer loyalty or trust. To date, research has focussed primarily on developed countries. Many challenges face South Africa as a Newly Industrialised Country (NIC). The negative factors facing developing countries in terms of e-service adoption include: lack of infrastructure, economic constraints and an emergent socio-political framework. The aim of this research was to build a conceptual model for explaining interrelationships between the identified factors that have an impact on customer e-service adoption. The customer’s perception of technology-driven services affects the organisation’s reputation, which in turn affects profitability. This research will be beneficial to ii managers in local organisations that thrive on e-services. An understanding of customer preferences will lead to improvement of customer services in South Africa. / Art History, Visual Arts & Musicology / D. Litt. et Phil. (Art History)

Customer satisfaction is a key concern in any business strategy. It is often assumed that customer satisfaction can be enhanced using e-services. E-service is defined as interactive service received via the Internet (Jiang et al., 2013). E-service has contributed to business-to-consumer (B2C) e-commerce by providing on-demand solutions to customers. The relationship with the customer is enhanced by introducing self-service options, product customisation and variety. However, there may also be negative impacts, such as techno-stress and lack of online customer assistance. The primary aim of this research was to develop a conceptual framework to describe the correlation relationship between the factors that influence customers’ adoption of e-services. Organisations use the Internet to attract customers, to conduct financial services and obtain information. This research focussed specifically on online shopping. The Grounded Theory research methodology was chosen for its flexibility and iterative comparison of data. A quantitative survey was conducted to determine the relative significance of the factors uncovered by the Grounded Theory methodology and to validate the hypothesis of the conceptual model. Customer adoption is attained where customer satisfaction is high, where the customer sees value in the service, and where there is customer loyalty or trust. To date, research has focussed primarily on developed countries. Many challenges face South Africa as a Newly Industrialised Country (NIC). The negative factors facing developing countries in terms of e-service adoption include: lack of infrastructure, economic constraints and an emergent socio-political framework. The aim of this research was to build a conceptual model for explaining interrelationships between the identified factors that have an impact on customer e-service adoption. The customer’s perception of technology-driven services affects the organisation’s reputation, which in turn affects profitability. This research will be beneficial to ii managers in local organisations that thrive on e-services. An understanding of customer preferences will lead to improvement of customer services in South Africa. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)