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The Global ETD Search service is a free service for researchers
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 41 to 44 of 44 (0.08 seconds)Spelling suggestions: "subject:"apolitical rrt"" "subject:"apolitical rört""
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[en] NATIONAL COMMISSION OF TRUTH, ART AND PUBLIC INTERVENTION / [pt] COMISSÃO NACIONAL DA VERDADE, ARTE E INTERVENÇÃO PÚBLICAALINE JOBIM E SOUZA 10 July 2018 (has links)
[pt] A dissertação Comissão Nacional da Verdade, Arte e Intervenção Pública pretende estabelecer um diálogo entre design / comunicação visual, arte política e história do período ditatorial no Brasil, tendo como base empírica o Relatório da CNV (especificamente o Volume III: Mortos e Desaparecidos Políticos). A partir da análise do Relatório da Comissão Nacional da Verdade, criamos oficinas de estratégias de comunicação visual no âmbito da intervenção no espaço público, com a participação de jovens na faixa etária de 18 a 22 anos. Nessa pesquisa de campo, a metodologia desenvolvida propõe-se a provocar um debate ético e estético com o público alvo. O processo criativo desenvolvido com os alunos de graduação em design da disciplina de Linguagem e Comunicação Visual II, ministrada pela professora Simone Formiga - 2017.1 - PUC-Rio, proporcionou a construção de narrativas imagéticas sobre questões morais relativas às gravíssimas violações de direitos humanos deflagradas pelo regime ditatorial e expostas no Relatório. Ou seja, a partir dos conteúdos discursivos gerados nesta disciplina, desenvolvemos narrativas visuais ocupando o espaço público, com a finalidade de provocar questionamentos e reflexões na população acerca das vítimas do período do regime militar brasileiro. / [en] The dissertation National Commission of Truth, Art and Public Intervention intends to establish a dialogue between design - visual language -, political art and history of the dictatorial period in Brazil, with empirical basis on the CNV Report (specifically Volume III: Political Dead and Disappeared). Analyzing the work of the National Commission of Truth, we created workshops on visual communication strategies in the framework of artistic intervention in public space, with the participation of a group aged from 18 to 22 years. In the field research, the methodology developed aims to provoke an ethical and aesthetic debate with the target audience. The creative process developed with the undergraduate design students at Language and Visual Communication II discipline, given by Professor Simone Formiga - 2017.1 - PUC-Rio, provided the construction of imaginative narratives on moral issues about the severe violations of human rights triggered by the dictatorial period and exposed in the documents of the National Commission of Truth. So, from the discursive contents generated in this discipline, we developed visual narratives occupying the public space, with the purpose of provoking questions and reflections about the victims of the Brazilian military coup.
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President of Crimea. Constitution : Author(s) Autonomous Republic of Xena-MariaKulykivska, Mariia January 2020 (has links)
In this essay, two voices are heared, from two women: a certain artist Xena, who talks about her life and its dramas, interwoven with her own experiences from her diaries; and the voice of Maria, who analyzes Xena's life story and her art, diffracted through the prim of the history of 21stC art. Art the outset, "President of Crimea. Constitution", announces its author as Xena-Maria; but it is not yet clear whether the author is one person or two, nor who they are. Is it Maria who writes here, or Xena, or both? Or are they one and the same person? But at the end of the story, which is told rather in a form of certain legends and fairy tales, Maria and Xena turn into one whole, and meaningfully put an ellipsis after the words "to be continued". This reception was specially intended by the artist Maria Kulikovska, author of this essay, in order to protect both herself and the reader from possible persecutions by migration services and goverment officials of various countries, especially Russia. Also, for her it is an opportunity to step aside and analyze her own life and art form a third person, about which, perhaps, a fictional character from her childhood talks - a sensible step for Maria Kulikovska. The step that her creative language conceptually continues is to replicate casts of her own body and establish them in different spaces and contexts. So she fairly confuses the viewer as to where is the truth, and where is fiction; where is herself, and where is her clone - only now, here, she has applied the same trick in her text. This essay tells a very personal story of the life of a human body, a migrant woman in forced relocation, displacements, alienation and persecutions for her views on life and the conduct of society, and for her moral values expressed throught architecture, sculpture, drawings, performances, actions and public statements. Through the prism of geopolitical upheavals, it tells the artist's own story: How her analysis of own body position and boundaries helped her overcome stigma regarding the body of a woman from Eastern Europe, and how art can save and redeem in an unending inner drama.
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Repositioning the problematic gender formation of a generation of white South African men through performance artSwanepoel, Andrew Peter 08 1900 (has links)
An overview of global statistics on violence, country to country and worldwide, indicates that men are the main perpetrators of violence in our societies. Furthermore, the behavioural traits of risk-taking and self-harm are also associated with men. It is my contention that the formative processes involved in gender identity are at the root of these dysfunctions.
In an attempt to present a positive alternative, I focus on a group I name the X- Men: white South African Generation X males. Drawing on Judith Butler‟s theory of performativity and its allowance for agency and resistance, I argue that they are not necessarily trapped by how their gender identities were formed through Apartheid‟s gendered institutions. These included schools, sport and the military.
I posit that within the institution of art, self-aware artists may present visual representations of resistance and transformation. Acknowledging art as signifying text, the X-Men situate signs differently in an effort to accomplish a social and intersubjective raising-of-awareness. Additionally, this new identity and its associated positive performance have the potential to undermine certain stereotypical perceptions harboured by the broader society as a result of problematic behaviour associated with men. / Art History, Visual Arts and Musicology / M.V.A.
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Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRASGlomm, Anna Sandaker January 2012 (has links)
This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.
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