• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 229
  • 93
  • 66
  • 20
  • 17
  • 7
  • 7
  • 6
  • 2
  • 2
  • 2
  • 2
  • 1
  • 1
  • 1
  • Tagged with
  • 569
  • 569
  • 183
  • 164
  • 93
  • 89
  • 85
  • 76
  • 74
  • 48
  • 47
  • 46
  • 39
  • 38
  • 37
  • About
  • 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.
211

Mediating Modernity: Visual Culture and Class in Madrid, 1926-1936

Barragán, Maite January 2017 (has links)
This dissertation examines the differing responses to modernity in the visual culture of Madrid from 1926-1936. I trace the debates generated by the anticipation, apprehension, or expectations to the ongoing processes of modernization. My work is guided by the understanding that the metropolis is both a physical and psychological space, and that the resulting visual culture is imbued with those experiences of Madrid. Thus, the questions and concerns of the period are instilled in the visual arts, regardless if the city is explicitly represented in them or not. Although Madrid was not a model of industrialization, the city’s inhabitants acknowledged and reacted to the attempts to modernize the city as well as the ongoing political and social transformations. My study examines diverse media alongside the popular press of the period. By examining individual works of art alongside periodicals, my dissertation reveals the relationship between the thriving popular culture, the elite culture, and an emergent mass culture. In the first chapter, I introduce how these different kinds of culture have been defined, as well as Madrid’s current place within art historical scholarship. In the second chapter, I look at how the construction of the Gran Vía avenue was presented in the press to investigate the social effects of the reorganization of Madrid’s center. The third chapter analyzes the development of the public persona of writer Ramón Gómez de la Serna and how he used his image as an advertisement for modernity. In the fourth chapter, I examine the film Esencia de verbena, directed by Ernesto Giménez Caballero. The film pictured Madrid’s traditions but also invoked Surrealist aesthetics. By bringing together ideas of international modernity and local folklore Giménez Caballero showed how popular culture was a useful resource for the local avant-garde. In the final chapter, I focus on the sculpture of artist Alberto Sánchez to demonstrate how his seemingly depoliticized artworks actually engaged in a critical discourse about the economic and social conditions resulting from modernization. This dissertation challenge the current understanding of the distinctions between the popular, elite, and mass cultures in Spain. Such categories cannot fully express the complexity of the visual culture of Madrid in the 1920s and 1930s. Instead, I argue that Madrid’s inhabitants negotiated and mediated modernity by blurring the boundaries and exploring the interconnections between these different cultures. / Art History
212

“Dark Shades Don’t Sell”: Race, Gender, and Cosmetic Advertisements in the Mid-Twentieth Century United States

Collins, Shawna January 2018 (has links)
In this study I examine the two major cosmetic categories - products for skin and products for hair - aimed at frican American women and advertised within the black press between 1920 and 1960. Specifically, I examine the Chicago Defender, Afro-American, Plaindealer, and Ebony. My project analyzes the images and conceptions of blackness and beauty sold to women of colour by white-owned and black-owned cosmetics companies.  I explore the larger racial and social hierarchies these advertising images and messages maintained or destabilized. A central theme of this project has been tracing the differences in advertising messages and conceptions of beauty communicated by black-owned and white-owned companies. Many of the images and much of the advertising copy produced by black-owned cosmetic companies challenged hegemonic beauty ideals that venerated white beauty and sold white idealization as a norm. The black cosmetic industry, however, was dominated by white-owned companies. The dominant position of white-owned companies was linked to the advantages associated with whiteness, which allowed these companies to advertise with greater frequency throughout the forty-year period. White-owned and black-owned companies often pursued diverging advertising strategies and messaging about black beauty. An important finding of the project is that white-owned companies were more likely to use degrading language and stereotypes to describe black beauty in their advertisements. However, a company’s racial identity did not always determine advertising strategies or messaging about black beauty. An important concept that permeated the 1920s and 1930s was the strategy of racial uplift, which was promoted by several black-owned companies. This strategy tapered out by the1940s as new technologies like photography regularly depicted black women with dignity and accuracy. The 1940s and 1950s witnessed new advertising strategies including the appeal to glamour. This period also saw the introduction of Ebony magazine, which fundamentally altered advertising messages through their appeal to middle class sensibilities. / Thesis / Master of Arts (MA) / My project analyzes skin bleaching and hair straightening advertisements appearing in four black-owned periodicals between 1920-1960: Chicago Defender, Afro-American, Plaindealer, and Ebony. The main goal has been to document the advertising messages about blackness and beauty communicated to black women through the advertisements of black-owned and white-owned cosmetic companies. I explore the larger racial and social hierarchies these advertising images and messages maintained or destabilized. A major finding of this project has been that advertising messages usually, but not always, diverged along racial lines. White-owned companies were more likely to use denigrating language to describe black hair and skin, and more likely to measure the beauty of black women based on how closely they approximated whiteness. Black-owned companies tended to challenge this ideology. They used messages about racial uplift as part of this challenge.
213

Cosmopolitan Entrepreneurs: Culture, Mobility and Survival among Baltic German Family Businesses in the Twentieth Century

Housden, Martyn 03 September 2019 (has links)
Yes / Research Development Fund Publication Prize Award winner, July 2019.
214

Yves Bonnefoy : the performative and the negative

McLaughlin, Emily January 2012 (has links)
This thesis examines Bonnefoy’s cultivation of the performative aspects of the poetic act in his later collections of poetry. It investigates the poet’s use of the theatrical structures of poetic performance, their temporal and spatial dynamics, to deconstruct conceptual or representative modes of thought. It examines how Bonnefoy uses apostrophes to insentient phenomena and addresses to an unidentified other in his attempts to open language up to the finitude and sharing of existence. Working within language, against language, the poet cultivates what he describes as ‘un savoir, tout négatif et instable qu’il soit, que je puis peut-être nommer la vérité de la parole’. The first chapter of this thesis investigates how the image of the ephemeral flame becomes a model for a finite poetic performance in ‘La Terre’. The second chapter scrutinises how Bonnefoy makes the signifying function of language ‘passive’ to the inappropriable excess of material presence in Début et fin de la neige. The third chapter, analysing ‘La Voix lointaine’, explores how Bonnefoy dramatises the experience of self-presence as the act of listening to a distant voice. The fourth chapter, investigating the relationship between finitude and form in ‘L’Heure présente’, analyses how the dissolution of form gives rise to a form that is always à venir, a dynamic, ‘un possible’.
215

Rafael Alberti: leituras do Museu do Prado / Rafael Alberti: readings of the Prado Museum

Marcelo Maciel Cerigioli 23 March 2012 (has links)
A presente dissertação analisa os livros sobre o Museu do Prado, A la pintura (1948) e Noche de guerra en el Museo del Prado (1956), ambos do escritor espanhol Rafael Alberti, escritos na Argentina, durante seu longo exílio. A investigação parte da contextualização de Alberti, que nos leva a uma aproximação ao tema, o Museu do Prado, tratado de maneira diferente nas duas obras. Na sequência, é analisado o livro A la pintura e, em seguida, a peça de teatro Noche de guerra en el Museo del Prado. / This study analyzes the books about the Prado Museum, A la Pintura (1948) and Noche de guerra en el Museo del Prado (1956), both of spanish writer Rafael Alberti, written in Argentina, during his long exile. The investigation parts from the context of Alberti, that leads to an approach to the subject, the Prado Museum, treated differently in the two books. In the sequence is analyzed the book A la pintura and then the piece of theater Noche de guerra en el Museo del Prado.
216

Rafael Alberti: leituras do Museu do Prado / Rafael Alberti: readings of the Prado Museum

Cerigioli, Marcelo Maciel 23 March 2012 (has links)
A presente dissertação analisa os livros sobre o Museu do Prado, A la pintura (1948) e Noche de guerra en el Museo del Prado (1956), ambos do escritor espanhol Rafael Alberti, escritos na Argentina, durante seu longo exílio. A investigação parte da contextualização de Alberti, que nos leva a uma aproximação ao tema, o Museu do Prado, tratado de maneira diferente nas duas obras. Na sequência, é analisado o livro A la pintura e, em seguida, a peça de teatro Noche de guerra en el Museo del Prado. / This study analyzes the books about the Prado Museum, A la Pintura (1948) and Noche de guerra en el Museo del Prado (1956), both of spanish writer Rafael Alberti, written in Argentina, during his long exile. The investigation parts from the context of Alberti, that leads to an approach to the subject, the Prado Museum, treated differently in the two books. In the sequence is analyzed the book A la pintura and then the piece of theater Noche de guerra en el Museo del Prado.
217

La musique religieuse pour piano d’Almeida Prado / The religious music for piano of Almeida Prado

Bannwart, José 27 January 2011 (has links)
La problématique de cette thèse est centrée sur une réflexion approfondie entre l’expression musicale d’une confession de foi catholique exposée et défendue par Almeida Prado et l’appréhension suscitée par une démarche que tout chercheur doit entreprendre à condition qu’il respecte le contexte brésilien fondé essentiellement sur le multiculturalisme.En ce sens, le répertoire choisi comprend Le Rosaire de Medjugorje, Les Chorals, Les Louanges Sonores et Les Prophéties. Ces quatre recueils ont fait l’objet d’un travail de recherche qui, au niveau de la méthode, s’est attaché à la mise en œuvre d’une minutieuse vérification de la présence de textes religieux. Ces derniers ont été référencés à partir des œuvres citées et ils ont été mêlés à une autre problématique, celle de l’analyse musicale, à condition que cette discipline participe pleinement au décryptage du sens religieux qu’il faut accorder aux œuvres composées par Almeida Prado.Six catégories musicales au service d’une organisation d’articulations poétiques ont été dégagées à partir de : la thématique, la succession de gestes pianistiques, la répétitivité, la juxtaposition des idées, la résonance, la réflexion sur le timbre. Cette hypothèse de lecture s’est confrontée à la réalité de quatre éléments déduits du contenu religieux et axés sur un appel à des sources puisées dans la bible, la théologie catholique, la religiosité populaire brésilienne, la dévotion personnelle d’Almeida Prado. Cette recherche ne saurait perdre de vue le contexte brésilien où le syncrétisme religieux accompagne le métissage culturel. Cette donnée si importante a largement contribué à l’orientation de cette thèse. / The problems of this thesis are centered on a cogitation deepened between the musical expression of a confession of Catholic creed displayed and defended by Almeida Prado and the apprehension provoked by a step which every researcher must undertake provided that he respects the Brazilian context principally on the multiculturalism.In the sense, the chosen directory consists of The Rosary of Medjugorje, Chorales, Sound Commendations and Prophecies. These four collections made the object of a research work which, at the level of method, became attached to the implementation of a detailed check on the presence of religious texts. These last were classified were classified from named writings and they were blended with another problems, that of the musical analysis, provided that this discipline participates entirely in the deciphering of the religious sense which it is necessary to grant in writings composed by Almeida Prado.Six musical categories in the service of an organization of poetic pronunciations were cleared from: themes, succession of piano gestures, repetitiveness, the juxtaposition of ideas, resonance, cogitation on the stamp. This hypothesis of reading was confronted with the reality of four elements deducted from religious contents and centered on a call to sources scooped out from the Bible, Catholic theology, religious inclination popular Brazilian, the personal devotion of Almeida Prado. This research would not know how to lose Brazilian context of view where religious syncretism accompanies cultural interbreeding. These so important data broadly contributed to the orientation of this thesis.
218

Ethnic peculiarity and universal appeal : the ambivalence of transition in mid-twentieth century Jewish American culture

Homer, Jarrod January 2012 (has links)
This thesis examines the contribution of Jewish artists to American popular culture in the mid-twentieth century and argues that the Jewish imagination contains a peculiar ability to simultaneous articulate the concerns of a specifically ethnic identity and a more universal American character. The thesis posits that by exploring how the Jewish community negotiated the space between ethnic identity and an American paradigm, Jewish artists were able to explore the middle ground between individuality and conformity, selfhood and consensus, liberalism and conservatism, tradition and change, and heritage and progress that held a wider pertinence for a more general American audience. The thesis argues that the diversity of the Jewish American imagination at this time can be united by a leitmotif that can be best described as the ambivalence of transition. By examining aesthetically dissimilar texts from a variety of artistic fields, in particular comic books, theatre, cinema, television, and literature, the thesis argues that despite the cultural evolutions that occurred throughout the thirties, forties and fifties, the Jewish voice articulated a continuing concern regarding the relationship between ethnic identity, masculine identity, the individual and mass culture. This last point hints at another preoccupation of this thesis; the texts analysed here all share a narrative focus that explores and represents notions of masculine identity and ideality. In this way, the thesis necessarily focuses upon debates about masculinity within the Jewish imagination and American culture, charting the evolution of the Jewish and American male and their relationship towards notions of performed, consensus, individual and paradigm masculinity. Although there has not necessarily been a desire to fully deny the notion of a continuing thematic preoccupation within the Jewish imaginary, previous scholarship has shown a tendency towards accentuating the eclectic nature of Jewish American culture. Whilst scholars like Paul Buhle and Stephen J. Whitfield recognise the importance of popular culture as an arena in which Jewish artists sought to articulate issues at the heart of Jewish identity and community in the US, their studies focus upon the kaleidoscopic eclecticism of Jewish American culture. The intention of this thesis is to harness the diversity inherent in Jewish cultural expression via the prevailing leitmotif of the ambivalence of transition. In this way the thesis will use the multifarious and textured fabric of mid-century Jewish culture, as well as the simultaneous articulation of both ethnic and more general concerns, to illuminate the understanding of both Jewish identity and American culture throughout the mid-century. Thus, the thesis builds upon work by the likes of Julian Levinson and Hana Wirth-Nesher that revisits ideas of assimilation and attempts to complicate the inexorable movement away from Jewish distinctiveness and identity. Similarly, the thesis builds upon studies by the likes of Pamela Robertson Wojcik and Will Brooker that attempt to accentuate the reductive understanding of the mid-century based upon boundless suburbia and unthinking conformity.
219

Resistance and remembrance : 21st century Spain reengaging 20th century trauma

Breen, Alanna Mary 12 October 2010 (has links)
This dissertation centers on the realization that history evolves and is never complete because the past is elusive and perceptions sway as society changes. Throughout the turn to the twenty-first century, Spain has been moving from resistance to remembrance with regard to individual, cultural and governmental interest in the Civil War and dictatorship of the twentieth century. During the transition to democracy after General Francisco Franco’s death on November 20th, 1975, the reunified government opted to forget the divisive past with the unofficial Pacto de Olvido. Despite this impulse toward resistance, the urge for remembrance at a personal and social level evolved into a, nationwide debate. On December 26th, 2007, the incumbent Congress of Deputies enacted La Ley de Memoria Histórica, a law that mandates attention to previously denied history. In essence, this controversial ruling seeks to promote remembrance of both sides of the Civil War. Contemporary literature, media and film have long been involved in this deeply political and personal work. From the multitude of options, this project selected five renowned texts published between 1992 and 2005. The authors of Autobiografía del General Franco (1992), La voz dormida (2002), El lápiz del carpintero (1998), Enterrar a los muertos (2005), and Soldados de Salamina (2001) belong to what Marienne Hirsch defines as the postmemory generation, the one born following a national trauma. These writers do not have the privileged position of immediate contact with survivors, yet emotional and temporal distance from the events narrated empowers these Spanish authors to create nuanced, literary depictions of war and post-war experiences. In their texts, these writers challenge accepted history, poetically weave a collective memory based on testimonies, illuminate idealistic differences, counter-balance hope with horror, and narrate the transformative experience of historical research. By engaging with the past from the perspective of the present, their narrators articulate the tension between resistance and remembrance. The texts studied here offer five contrastive representations of ways in which versions of history are alternately censured or suppressed, and subsequently unearthed and refashioned in collective and official memory as political power and narrative agency are transformed in an ever-changing society. / text
220

FAUSTIAN FIGURES: MODERNITY AND MALE (HOMO)SEXUALITIES IN SPANISH COMMERCIAL LITERATURE, 1900-1936

Zamostny, Jeffrey 01 January 2012 (has links)
I contend in this study that commercial novels and theater from early twentiethcentury Spain often present male (homo)sexual characters as a point of constellation for anxieties regarding modernization in Madrid and Barcelona. In works by Jacinto Benavente, Josep Maria de Sagarra, El Caballero Audaz (José María Carretero), Antonio de Hoyos y Vinent, Carmen de Burgos, Álvaro Retana, Eduardo Zamacois, and Alfonso Hernández-Catá, concerns about technological and socioeconomic change converge upon hustlers and blackmailers, queer seducers, and chaste inverts. I examine these figures alongside an allegorical interpretation of Goethe’s Faust in Marshall Berman’s book All That is Solid Melts into Air: The Experience of Modernity (1982) in order to foreground their varying responses to modern innovation. They alternately sell themselves to prosper under consumer capitalism, seduce others into savoring the pleasures of city life, or fall tragically to the conflicting pressures of tradition and change. In the process, they reveal the fear and enthusiasm of their creators vis-à-vis rapid urbanization, fluctuating class hierarchies, the commercialization of art, and the medicalization of sex from the turn of the nineteenth century to the Spanish Civil War. From a methodological standpoint, I argue that close readings of commercial works are worthwhile for what they reveal about the discursive framing of modernity and male (homo)sexualities in Spain in the early 1900s. Hence, I use techniques of literary analysis previously reserved for canonical writers such as Federico García Lorca and Luis Cernuda to discuss texts produced by their bestselling contemporaries, none of whom has been equally scrutinized by subsequent criticism. Existing scholarship on modernity and sexuality in Spain and abroad helps contextualize my detailed interpretations. Although my project is not a sustained exercise in comparative literature, I do situate Spanish works within historical and literary trends beyond Spain so as to acknowledge the interplay of transnational and local concerns surrounding modern change and sexual customs. By considering the primary texts in relation to varying temporal and geographic contexts, the dissertation aims to be of interest to a readership in and outside Hispanism, and to supplement important studies of modernity, (homo)sexualities, and literature that overlook Spain.

Page generated in 0.0551 seconds