何遠良. / "2002年8月" / 論文 (藝術碩士)--香港中文大學, 2002. / 參考文獻 (leaves 18-20) / 附中英文摘要. / "2002 nian 8 yue" / He Yuanliang. / Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 18-20) / Fu Zhong Ying wen zhai yao. / 前言 --- p.1 / Chapter 一） --- 專業槪說 --- p.1 / Chapter 二） --- 工業革命與藝術的通俗化 --- p.2 / Chapter 1. --- 勞動分工與媚俗文化 --- p.2 / Chapter 2. --- 責任倫理的失 --- p.3 / Chapter 三） --- 藝術專業化的創新和自主性迷思 --- p.4 / Chapter 1. --- 爲藝術而藝術 --- p.5 / Chapter 2. --- 盲目創新 --- p.5 / Chapter 3. --- 譁眾取寵的遊戲 --- p.6 / Chapter 4. --- 藝術館的大眾化 --- p.6 / Chapter 5. --- 策展人的篩選標準 --- p.8 / Chapter 6. --- 畫廊的市場導向 --- p.9 / Chapter 四） --- 從專業化反思個人的雕塑創作 --- p.10 / Chapter 1. --- 專業的態度 --- p.10 / Chapter 2. --- 形式的決定 --- p.10 / Chapter 3. --- 材料的選擇和收集 --- p.11 / Chapter 4. --- 創作的自然規律 --- p.13 / Chapter 5. --- 因材施工：變化與突破 --- p.13 / Chapter 6. --- 展覽的完滿佈局 --- p.15 / 結語 --- p.16 / 註釋 --- p.18 / 參考書目 --- p.19 / 圖版 / 幻燈片目錄

Thesis (Ph. D.)--University of Southern California, 2003. / Includes bibliographical references (p. 225-263). Also available on the Internet.

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 543-571). Available also in a digital version from Dissertation Abstracts.

Diss. : Fak. für Kulturwissenschaften : Tübingen : 1982. / Includes index.

Thesis (MTech. degree in Fine Art) -- Tshwane University of technology, 2011. / This dissertation investigates associated themes of the Pre-Raphaelite artists Dante Gabriel Rossetti (1828-1882) and William Holman Hunt (1827-1910), in context of their idealized and spiritual portrayal of the human figure. Semiotics is used to analyze the artwork of these artists in order to attain a deeper understanding of these artworks, and to investigate potential meanings that certain signs might signify. The possible symbolism of these signs are sourced from the key symbolist theorist, Juan Eduardo Cirlot (1916-1973), from his systematic study of symbolic signs. The research identifies semiotics validity as a system for interpreting signs, and seeks to show that there are deep and complex meanings, even in a painting. Semiotics is also philosophical: it suggests that reality does not exist outside of individual interpretation, but that reality is a system of signs.

Vinyl records have re-emerged as the preferred format for music fans and artists alike. The problem is that producing vinyl records is slow and expensive; this makes it difficult for up-and-coming artists to release their music on vinyl. What if you could make your own records at home?

In my dissertation I address a gap in scholarship on contemporary Iranian women by using a selection of artworks as the lens through which to explore the gendered experience of exile and diaspora. More specifically, I examine the embodiment of personal and political space since the 1979 revolution as depicted by a selection of contemporary Iranian women artists some of whom live and work in the United States, others in Iran. Narratives embedded in their work examined in this project, provide a lens through which to view women's particular experiences inside and outside post revolutionary Iran. Some artist's works can be interpreted as descriptive of aspects of women's legal status in Iran; while others demonstrate the feelings of post revolution estrangement (ghorbat) and internalized exile through their portrayals of the related issues of veiling and women's cultural memory, as well as their private presence and public absence. Although engaging in a close reading of the art itself, I also draw from Iranian women's literature including memoirs, poetry, and scholarly works. The primary artists whose works I discuss include Haleh Niazmand, Taraneh Hemami, Kendal Kennedy and Shirin Neshat (U.S.) and Minoo Asaadi, Samila Amir-Ebrihimi, and Shirin Etehadieh (Iran). Additional artists included in this dissertation are Kendal Kennedy, Sonia Balassanian and Shirin Neshat (U.S.). The poet whose work frames the issues in each chapter is Persis Karim.

This dissertation presents the life story of Freda Diesing, artist, teacher, and the first Haida woman known to become a professional carver. Diesing holds the Haida name Skilquewat, which translates as the descriptive phrase "On the trail of Property Woman." This phrase makes an appropriate title, as it reflects both the research process and the form of the written result. Diesing's life is not presented here as a monolith discovered, singular and clearly bounded, but rather as an organic accretive identity, constantly in the process of construction and negotiation. Diesing defines herself in relation to her mother and her grandmother, and her stories tell how they negotiated their own identities during times of rapid cultural change. For all three women changes in Haida culture under pressure from wider Canadian society tended to emphasize the role of women in the domestic sphere, as wives and mothers, while mmimizing their wider political and social impact. Diesing, a woman of mixed ethnic decent, who married late, has no children, lives only on the mainland and grows increasingly independent and active as an elderly widow, resists easy classification. She performs her own identity variably, depending upon her audience. By developing her identity as a Haida artist and teacher Diesing has been able to negotiate a position of continuing respect and influence appropriate to her chiefly heritage, despite inauspicious circumstances in her own life and in the contemporary history of the Haida people. Yet it is not being recognized as an artist or a master carver that has been Diesing's primary intention. Rather she has used her art itself as a tool in achieving a goal she defines as most important: helping both Natives and non-Natives understand and take pride in the indigenous cultural heritage of the Northwest Coast. More than an artist, Freda Diesing is a teacher. Through the stories she tells, and through her own life's example, she reminds us all of the continuing vitality of Northwest Coast cultures, and especially of the important contributions of women in Coastal society.

This thesis draws upon an interdisciplinary approach characteristic of a performance perspective to examine the ways in which performances of identity and belonging are constituted through social dance, play and the engagement of city space. The study is based upon detailed observational and participatory data gathered over the course of one year (2005-2006) while attending indie dance parties within the urban centre of East Vancouver. The research follows the movement of Vancouver's artist-identified youth who strive to create something outside of the 'big-business' dance clubs that occupy the city of Vancouver's appointed entertainment district, weaving together an alternate, complex and mobile portrait of the city in play. The thesis begins with the concept of the mainstream and argues that though the concept manifests sometimes as an ambiguous construct that indie youth define themselves against, the mainstream is much more than an imaginary entity. The mainstream is both material and geographical while the relationship between dominant culture and some youth subcultures are mutually dependent. The concept of social space features prominently within the thesis; interviewees constitute themselves in relation to what it means to be 'in' and 'of' East Vancouver, revealing their identities as closely tied to place and also to social class. Identities are not only acquired negatively (in opposition), but are also positively acquired, through constitutive practices. Noting that social class is materially based, I argue that it is also both performed and performative, as a persistent mode of distinction within the indie scene. These complexities of performance are approached through the rubric of social dancing, a playful yet grounded practice that is productive precisely because it enables analyses that are at the same time social, spatial and embodied. Indie dance events offer the opportunity to connect participants to place (East Vancouver) and through body movement (dancing) to reaffirm membership in this group.

There is no abstract available for this thesis.