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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
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 111 to 120 of 121 (0.025 seconds)| 111 |
Černé na bílém (bitva ilustrátorů, bezprostřední výtvarná událost a její potenciál pro výtvarnou výchovu) / Black and White (battle of illustrators, immediate artistic event and its potential for the art education)Zawadská, Kamila January 2019 (has links)
Master's thesis is devoted to the phenomenon of Secret Walls, an illustrative contest with a distinctive conception. The aim of the theoretical part is to explain the basic bases and contexts of this live art battlement event and describe the means suitable for motivating pupils and students to work on their own work, which is based on and inspired by SW. In short, linking the elements of this immediate art event with teaching art. In the didactic part, the aim is to realize the individual stages of the thematic art series, which is focused on the development of drawing in the pupils of the second grade of primary school and verifies the described motivational elements in practice. The aim of the project is to revive the public space of the town of Rakovník through the Concetre Wall event and to convey an artistic experience for local residents. To motivate them to create their own free time and to point out the relaxing aspect of art. The focus of the work lies in the realization and detailed description of the thematic series of artistic tasks and in the realization of the artistic event in Rakovník. Furthermore, the thesis focuses on the verification of motivational elements for own free work used in the school environment and in public leisure time. Last but not least, definitions and...
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<p>"The Cult of Cézanne:" Marcel Duchamp, Clyfford Still, and Banksy</p>Miller, Shelby E. 17 July 2017 (has links)
No description available.
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[en] STREET GRAPHIC: STRATEGIES AND TACTICS ON THE STREET VISUAL CULTURE OF RIO DE JANEIRO / [pt] GRÁFICA DE RUA: ESTRATÉGIAS E TÁTICAS NA CULTURA VISUAL DE RUA DO RIO DE JANEIROPEDRO SANCHEZ CARDOSO 06 August 2013 (has links)
[pt] Gráfica de rua – estratégias e táticas na cultura visual de rua do Rio de Janeiro é uma investigação sobre o campo da cultura visual de rua. Neste trabalho, observamos uma pluralidade de manifestações visuais – cartazes de lambe-lambe, pixações, grafites, outdoors, banners, impressos volantes, entre outros – objetos que se inserem em um universo dos impressos e através dos quais diversos agentes procuram se fazer representar no espaço público, apropriando-se da rua como um aparato visual. Compreendemos a rua como o lugar de um conflito territorial – uma disputa que se dá no espaço e se manifesta no plano das imagens, através da manipulação, do acúmulo e da sobreposição de indícios visuais. Propomos a noção de capital visual como uma abordagem para as estratégias e táticas de visibilidade levadas adiante pelos diferentes agentes na disputa de poder de que a rua é lugar. / [en] Street Graphic - strategies and tactics on the street visual culture of Rio de Janeiro is a reflection is an investigation about the street visual culture. In this work, we observe the plurality of visual manifestations, such as grafities, billboards, banners, flyers, among others. Objects that are part of the universe of printed forms and through which different agents seek to be represented in public space, by appropriating the street as a visual apparatus. We understand the street as a place of territorial conflict - a dispute that happens in space and manifests in images, through the manipulation, accumulation and overlap of visual clues. We propose the notion of visual capital as an approach to the strategies and tactics of visibility taken forward by the various players in the power struggle that happens in the street.
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Life in the Penit: Framing and Performing Miami's Graffiti SubcultureMerida, Victor M 28 March 2014 (has links)
In the tradition of the Birmingham School of cultural studies, this thesis focuses on Miami’s graffiti subculture and the conflicts between market economies and economies of social meaning. As a reference point, I consider Miami’s “Penits”: the name given to the seemingly abandoned buildings where graffiti is performed. Short for penitentiary, the term derives from the 1980s after a large building rumored to be a prison was defunded midway through its construction. After this first reclamation, every other graffiti heterotopia in Miami has been similarly recoded as spaces that mock structures of discipline and industry.
Through Michel Foucault’s biopolitical framework I argue that the sovereign state and marketplace conspire to dually criminalize and commoditize the subculture’s performative defiance. I conclude by illustrating how the market itself reinforces the carceral archipelago by framing the subculture’s vandal aesthetic through the normalized, self-interested boundaries of conduct that the market itself deems il/legal.
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Vlakové nádraží / Railway StationPETRÁŠOVÁ, Jitka January 2007 (has links)
The theoretical part of this work refers to the presence and approach to the technical element in former and current Czech art. It closely inquires into this theme in the work of the outstanding contemporary Czech artists and it also mentions the graffiti phenomenon and its influence on the present artistic production. Furthermore it explains my intention and technical method in the course of creating the practical part of the work - a cycle of six thematic paintings.
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Vizuální reinterpretace národní identity ve veřejném prostoru Mexika / Visual Reinterpretation of National Identity in the Public Space of MexicoHaakenstad Koháková, Magdalena January 2020 (has links)
Visual Reinterpretation of National Identity in the Public Space of Mexico Visual communication in public spaces of Mexico has been significantly shaping collective identity, from pre-Columbian times to nowadays. This PhD thesis analyzes the visual aspect of cultural and religious identity in pre-Columbian and colonial eras, later, the discussion is led through the development of the modern day national identity that followed while concurrently explaining how former structural characteristics were partially maintained. Those phenomena are explored from two vantage points: that of the cultural and political elites and that of the general population. However, these perspectives aren't presented in a sharp opposition, rather, as two conjugating cultural streams that have been continuously negotiating and shaping cultural and national identity in correlation with historical and cultural events, including influence from significant others. Accordingly, the thesis explores the official version of national identity, that is promoted by state power, but also how official identity is received into intimate spaces, the everydayness of the bearers of such identity, its reinterpretation and alternatively, the rejections. Since public art (mural art, popular graphics, graffiti, stencil art and other diverse means of...
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Arts in action: a public arena for art: the practical, functional and social implications of art within a cultural context with specific reference to South AfricaRoss, Wendy 30 November 2005 (has links)
The research is based on the belief that the Earth's survival is reliant on an understanding of the interconnectedness between people
and the planet. The premise that creative expression is an inherent need in human beings and a powerful agent for social change
is at the core of this study. The arts permeate all aspects of life and can play a positive pro-active role in economic and social
upliftment. The study therefore explored a contemporary public context in which artists intervene in society to provide practical
and functional social spaces but also, with the ecological crisis of the planet, to create an awareness of the interconnectedness of
life. Place-making was of specific concern and one of the aims was to examine ways of re-shaping the appearance and meaning
of public spaces. An equally important issue was the role and responsibility of both the artist and the commissioning process in a social context and the relevance of individual expression as modes of addressing social concerns and as a tool of public empowerment within a new democratic South Africa that can have a genuine impact on community well-being and social inclusion. The research therefore exists in between the arts, social sciences and the ecology of place: that is, the understanding of the role of creative intervention within social spaces.
The study provides a historical context and development of new trends in public and collaborative community arts, contextualises
the notion of public and argues for a repositioning of assessment criteria for the arts within a social public domain and in the interest of the people. It is based on a critical survey of international collaborative arts and its potential as a guide to alternative solutions and implementation within a South African context for creative interventions and regeneration of public spaces and empowerment
and capacity building of its citizens. The research discusses the relevance and the position of the arts and craft industry as a means of poverty alleviation, job creation and empowerment in South Africa. Rebuilding community demands both the rejuvenation of
social spaces and the restoration of community esteem together with mutual and self-respect. / Art History, Visual Arts and Musicology / D. Litt. et Phil (Art History)
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Arts in action: a public arena for art: the practical, functional and social implications of art within a cultural context with specific reference to South AfricaRoss, Wendy 30 November 2005 (has links)
The research is based on the belief that the Earth's survival is reliant on an understanding of the interconnectedness between people
and the planet. The premise that creative expression is an inherent need in human beings and a powerful agent for social change
is at the core of this study. The arts permeate all aspects of life and can play a positive pro-active role in economic and social
upliftment. The study therefore explored a contemporary public context in which artists intervene in society to provide practical
and functional social spaces but also, with the ecological crisis of the planet, to create an awareness of the interconnectedness of
life. Place-making was of specific concern and one of the aims was to examine ways of re-shaping the appearance and meaning
of public spaces. An equally important issue was the role and responsibility of both the artist and the commissioning process in a social context and the relevance of individual expression as modes of addressing social concerns and as a tool of public empowerment within a new democratic South Africa that can have a genuine impact on community well-being and social inclusion. The research therefore exists in between the arts, social sciences and the ecology of place: that is, the understanding of the role of creative intervention within social spaces.
The study provides a historical context and development of new trends in public and collaborative community arts, contextualises
the notion of public and argues for a repositioning of assessment criteria for the arts within a social public domain and in the interest of the people. It is based on a critical survey of international collaborative arts and its potential as a guide to alternative solutions and implementation within a South African context for creative interventions and regeneration of public spaces and empowerment
and capacity building of its citizens. The research discusses the relevance and the position of the arts and craft industry as a means of poverty alleviation, job creation and empowerment in South Africa. Rebuilding community demands both the rejuvenation of
social spaces and the restoration of community esteem together with mutual and self-respect. / Art History, Visual Arts and Musicology / D. Litt. et Phil (Art History)
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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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A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and HealingStasko, Carly 14 December 2009 (has links)
This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.
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