There is conflicting evidence on Black parenting, specifically Black mothers as it relates to their educational participation in their children’s lives. This study focuses on the intersection of Black parenting, specifically single Black mothers, their Black experience in society, and their participation in the educational experiences of their daughters. There is a need to explore the experiences, behaviors, and actions of single Black mothers as they raise their daughters from early childhood to high school. For example, some research depicts Black mothers as uncaring about their children’s education. The purpose of this study is to examine how these single Black mothers educate and care for their daughters to provide additional insight. The following areas of research were highlighted: the Black experience, the Black family, cultural roles of Black women, the Black mother’s standpoint, and the culture of acting white. The concept addressed in this study is the resiliency of the Black mothers. The statement of the problem is drawn from motherwork, a theoretical framework that looks at distinct ways Black mothers navigate the education experiences of their children. The research questions and qualitative methodological approach of portraiture is different from traditional qualitative work, which focuses on the goodness of the research participant, instead of the failure of research participants. Portraiture paints a portrait of the research participant with words and allows for in-depth dialogue. Some current research depicts single mothers in a negative perspective. This study provides additional insight on how single Black mothers educate and care for their daughters. This additional information may be applicable to all parents and educators and serves as another source about motherhood for children being raised from early childhood to high school. / text

Anthony van Dyck's contemporary vision of sovereignty and knighthood made him the principal image-maker in England during the 1630s. His portraits of Charles I exemplified the Arcadian realm and philosophies held at court, as well as complying with the artistic and historical traditions of English painting. As a celebration of Monarchy by Divine Right, Van Dyck's portrayals of the Sovereign summarize the philosophical concepts of knighthood expressed in the Platonic Love theory and the Order of the Garter. Charles I was Defensor Fides, Pater Patriae, the suitor to his lady, and the courtly gentleman--all roles of the knight. Beyond his stylistic influence, Van Dyck's foremost contribution was the endowment of maiestas to the royal image, followed by divine apotheosis for posterity. A better understanding of Van Dyck's Charles as the Garter Sovereign leads us to modify our perception of the artist, since he became the painter of contemporary British history.

No description available.

The establishment of the French Absolutism under King Louis XIV depended in part on pictorial representation generated by the French Academy. As a vehicle and institute of the state, the Academy created a canon of imagery, which was known throughout Europe. This enabled Louis XIV's image to be reversed by the creators of the satirical images. The makers of the reverse image appropriated the institutionalized styles and genres of royal portraiture to create innovative satirical images of the monarch using the very canon Louis XIV sanctioned. In its analysis of a small body of satirical imagery, the thesis draws on various theories about the body of the king proposed by Jean-Marie Apostolides, Ernst Kantorowicz and Louis Marin. A comparison of satirical images with official images of the king demonstrates the successful strategies of satirical imagery and the collective need for these kinds images in the seventeenth century.

This thesis proposes an anti-Orientalist reading of the portrait of the Ottoman Sultan Mehmed the Conqueror (r. 1451-1481) by Gentile Bellini. The artist's work is analysed in the context of the Venetian Renaissance and the status of the visual arts in the Ottoman Empire. Mehmed's patronage of Italian artists, who created medallic and pictorial portraits of the sovereign, is considered together with the local translation of conventions enabled by early modern cross-cultural encounters. The Western political and intellectual climate following the conquest of Constantinople by Mehmed in 1453 is examined and, in particular, the secularising crusade literature produced by humanist scholars. Covert efforts to incorporate the Turks within the boundaries of civilised society coexisted with the conventional derogatory anti-Turkish propaganda. Bellini's portrait is seen as an attempt to portray the sultan as a member of the Venetian aristocracy. The historiographical record of modern academic scholarship in the disciplines of history and art history exploring these cross-cultural exchanges is set in a framework that explores the role of Edward Said's Orientalism in light of recent developments.

Thesis (MFA)--Montana State University--Bozeman, 2008. / Typescript. Chairperson, Graduate Committee: Gesine Janzen.

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1990. / Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme de Maîtrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Bibliogr.: f. 107-111. Document électronique également accessible en format PDF. CaQCU

Texte remanié et trad. de: Thèse d'habilitation--Faculté d'histoire--Varsovie--Université. / Version française d'une thèse en polonais. Bibliogr. p. 225-234. Index.

A revision of the author's thesis, Heidelberg. / Includes bibliographical references.

Thesis--Bonn. / Vita. Bibliography: p. 257-279.