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Sibyl cycles in Northern and Central Italy, in the Early Renaissance. Previous published scholarship listed twenty-two sites. I now know of forty. Twenty-three of these may be considered Early Renaissance works of art and are the subject of this study. This study is not primarily engaged with history of Art but with the history of Ideas. That is, it is not a study of the painters. their methods and status but rather with the study of the development of the genre. its textual sources, the content of the inscribed oracles. the development of the pictorial conventions and symbolism. the transmission of these and the cultural significance of the genre. The dissertation is concerned with artistic styles and techniques only in so far as they illuminate the pictorial origin of the works and their iconographic significance in terms of the ideas conveyed. It describes and defines regional sub-genres. each with clear rules and conventions. These have not previously been identified and no comprehensive national conspectus exists. Structure of the Dissertation The dissertation is in three parts. The first part addresses the nature and origin of Sibyls (who and what they were) and their significance in cultural history until the Renaissance. Part Two is concerned with the origins and transmission of text and iconographic conventions in the Renaissance Sibyl cyeles. Pari three is a catalogue and survey of each Sibyl cycle site in Central and Northern Italy, along with a comprehensive photographic record. Great destruction of some cycles has taken place since the 1960s and the compilation of a complete photographic record is urgent and a significant aim of the present work. There are few published coloured photographs of the full cycles. none complete except for Siena. This dissertation is wide in scope and is in large part a catalogue and survey of all known Italian Sibyl cycles. Because of the limitations of a Doctoral dissertation. at times the transition from one site to another may appear abrupt and disjunct. Nonetheless, the structure is logical and careful. Sites are arranged chronologically, according to genre. The reader is directed to the detailed table of contents, if a review of structure and order be required. Research Method The method of research was to form a comprehensive list of Sibyl sites in Italy by consulting published English and Continental books. journals and locally produced historical papers as well as word of mouth advice in Italy. I visited all the sites and made a photographic record. Origin and transmission of text was established by consulting contemporary manuscripts that either specify the oracle text or describe the original Orsini. and other, frescos. These manuscripts are widely scattered in Europe and difficult of access so, where possible, a significant example of each kind of manuscript is reproduced in photographs or photocopy, transcribed and translated in the Appendices to the dissertation.

This practice based research seeks to explore and extend the potential of camera obscura projections to perceptually transform objects and spaces by using their unique visual qualities. These pertain to immediacy and directness. Although apparently tangible, the projected images appear to reside in a void where there is an absence of surrounding visual reference. This causes the images to appear disconnected from any context, thereby prompting associations with Freud's notions of the uncanny and Proust's narrative of the transitional. The research consists of a sequence of practice based studies. These commenced with an exploration into the perceptual ambiguities of reflection and shadow. Perceptual ambiguity was further explored through the distorting effects of curved pinhole cameras. The latter began to suggest using the camera itself as an object within which something could be viewed. With the incorporation of focusing lenses, this led to projections where the observer was situated within the camera obscura. Throughout the research, the objects projected were always ordinary and familiar, commencing with a light bulb. The addition of lighting sequences thus enabled further exploration of various phases of ambiguity, as well as enhanced definition and recognition of the projected image. This was followed by projections of other objects, which sought to place them in a particular visual context; for example a mug projected into' an actual microwave located within a kitchen. Although this produced surreal connotations, the surrounding visual material diluted the impact of the projected image. A decision was therefore made to concentrate entirely on the presentation of the projected images by refining projection techniques to enhance their quality and definition. The introduction of movement subsequently heightened perceptual ambiguity, as did the addition of the multiplication of images. This led to a rich variety of projected imagery which ranged from the perceptible to the imperceptible, involving synchronicity, transparency, juxtaposition, transposition from line to plane, and contrast between stasis and movement. The increasingly extraordinary images prompted a reevaluation of the observer's visual assumptions. These practical investigations, together with historical, literary, and philosophical issues, combine to extend the possibilities of the camera obscura in terms of contemporary artistic practice.

This thesis explores the importance of the United Kingdom’s composition as a multinational state to the decoration of the new Houses of Parliament, constructed by Sir Charles Barry following the destruction of most of the old Palace of Westminster by fire in 1834. Over seven chapters, it examines the decorative schemes undertaken between the 1840s and 1860s by Barry and the Fine Arts Commission, followed by later, individual programmes, the last of which was completed in 1928. This study develops the twin notions of the art of union and the art of disunion to analyse the complex relationship between the Union and Parliament’s decorative schemes. The art of union is used to identify the elements of the New Palace of Westminster’s planned or completed decoration that validated and promoted the Union. Meanwhile, the art of disunion is deployed as a means of analysing the works of art that caused disunity and division. Examples of the art of union in the Houses of Parliament have led to it being described as a very British building. However, this thesis argues that this is an inadequate description. Though Scotland, Ireland and Wales are represented in the building’s decoration, it is England that dominates. Therefore, this study argues that Anglo-British is the most accurate term with which to describe the sense of national identity embodied by the Palace of Westminster. However, the Anglo-Britishness presented over the lengthy period covered in this thesis is not a consistent and homogenous vision, but one that is varied, complex and, at times, contradictory. There is also a clear development in the general form that it takes: beginning with a relatively inclusive Anglo-Britishness that gives some recognition to the UK nations other than England, it becomes increasingly Anglocentric and imperialist over the period examined.

Thesis (M.F.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Det händer ofta att lärarna möter nyanlända elever i sina klassrum och uppmärksammar att de eleverna har annorlunda syn på skolämnen än eleverna som har växt upp i Sverige. På grund av detta valdes denna studie som har behandlat ett problem som kan uppstå när bildlärare möter nyanlända elever. Syftet med den har varit att belysa nyanlända elevers förkunskaper i bildämnet och få en tydlig förståelse om hur de uppfattar ämnet bild. På detta vis kom forskningsfrågan: Vad har nyanlända elever för bildkunskap, och kan detta mätas genom att fråga eleverna hur bildundervisningen såg ut i deras respektive länder? I undersökningen har kvalitativa intervjuer använts som metod för att förstå vad forskningsdeltagare tycker och anser. Materialet som behandlas består av inspelade intervjuer med 7 elever som går på introduktionsprogram i Sverige. Undersökningen har visat att intresset för ämnet bild som skolämne i elevernas länder beror mycket på vilka skolor de har gått på eller vilka lärare de har haft.

Bräckta tårar” är en animerad kortfilm som behandlar ett av Östersjöns miljöproblem, döda bottnar. Det är ett projekt som visar vad som händer i havet och hur det påverkar livet under ytan. Med filmen vill jag på ett illustrativt sätt berätta och beskriva den situation Östersjön befinner sig i. Genom att följa ett friskt hav, som förstörs alltmer på grund av övergödningens påverkan, hoppas jag att fler får kunskap om vad som händer i vårt hav och på så sätt prioriterar ett bättre skydd mot våra ovärderliga naturresurser. / Brackish tears" is an animated short film about the Baltic Sea’s dying sea beds. The film describes the process by which this environmental crisis occurs, focused upon the “Dead Zones” and the sea life that used to flourish there. Following a fresh and healthy sea as it is thoroughly destroyed by chemical pollutants from agriculture run-off, I intend to exhibit the vitality of sea life and the quickness by which it is gone. My hope is that through knowledge, our priorities can move towards better protection of our invaluable and irreplaceable natural resources.

Denna uppsats utforskar hur karaktären The Doctor kan återberättas om och om igen utan att behöva börja om på nytt. I en film och TV-landskap fylld av adaptioner som tar tidigare verk och återskapar det från grunden så har TV-serien Doctor Who adapterat sig själv utan att övergett sitt förflutna. Historien finns alltid kvar, även efter ett flertal adaptioner. Uppsatsen kollar närmare på hur Doctor Who kan överleva i över ett halvt decennium och fortfarande vara relevant för tittarna genom dessa adaptioner, men serien har en lång och komplicerad historia så för att simplifiera det så kommer den att fokusera på de första tio åren som är ansvarig för fastställandet av seriens odödliga karaktär och oändliga berättelse. Det innebär tre skådespelare som tog an huvudkaraktären inom den tiden och etablerade vem karaktären var och vad som gjorde honom speciell i TV-landskapet.

One of the primary focuses in the works presented and discussed herein is the juxtaposition of many disparate musical styles, recordings, and sound worlds within each individual piece. This juxtaposition extends to combining live improvisation meticulously created non-realtime elements, and elements of generative processes in the creation of individual works. A secondary theme is my attitude to accessibility and how this informs my work with audiovisual elements.

This thesis emerges from and responds to certain recent philosophical writings on conceptual art, in particular from the British analytic tradition. Having identified a recent tendency implicit within this tradition towards an increasingly phenomenological reading of the ontology of the conceptual artwork, I aim to develop such ideas through an analysis of Heidegger's theory of art, and through a subsequent enquiry into its applicability to conceptual art. This will involve a lengthy analysis of several conceptual artworks on the basis of this theory. The thesis consists of three substantive chapters. The first is a critical examination of certain recent philosophical texts on conceptual art. This chapter takes a series of philosophical texts representing a range of positions with regards to both the specific role and, by virtue, the significance accorded to the material in the constitution of the conceptual artwork. The second chapter looks at Heidegger's phenomenological enquiry into the ontology of the artwork, and specifically at the role of the concepts of Earth and World in this ontology. On the basis of this study of Heidegger, the third chapter engages with a range of conceptual artworks. Each artwork is shown to exemplify a general tendency of conceptual artworks to explore of the bounds of the artwork as such and its relation to its context.