The Marianas, a chain of small tropical islands in western Micronesia, were the first to be subjected to colonisation in the Pacific and are among the last to move into self-governance. The islands were administered as a Spanish colony for 230 years following establishment of a Jesuit mission in 1668. The United States claimed Guam during the Spanish-American War in 1898, while Germany then Japan and finally the United States governed the Northern Marianas. This long period of colonisation largely obliterated the native Chamorros' consciousness of an indigenous past. Rapid social changes that began in the 1960s had severely undermined the Chamorro sense of identity by the beginning of the 1980s. Counterforces, however, were beginning to take shape, driven by local as well as international movements. Using Chamorro art as a theme, this thesis traces the history of the native people and their cultural transformations which defined their identity as a continuing cultural group, despite their loss of an indigenous history. Recent social, economic and political changes have triggered a movement to express their identity as a people separate from their colonisers. Indigenous artists are involved in a renaissance of artistic creation that draws on perceptions of their pre-contact culture for inspiration. Chapters explore the beginnings of a self-conscious cultural awareness and subsequent reconstruction of their ancient history, expressed through neo-traditional creations of song, dance and visual art forms. Their sources of inspiration and processes of creating identity symbols from an ancient past are revealed through extensive interviews and fieldwork. Indigenous ways of looking at history and perceptions of both insiders and outsiders regarding validation of these art forms are discussed in terms of local examples which are compared to Pacific and global movements of decolonisation and identity formation. The text is referenced by an appendix of over 150 photographic examples of Chamorro art and artefacts from museums, historical documents and fieldwork

Thesis (Ph. D.)--University of Washington, 1997. / Includes bibliographical references (leaves [349]-363).

À travers l’étude des peintres français partis au Maroc pendant le Protectorat, cette thèse examine la structuration et le développement de l’art colonial, courant qui succède à l’orientalisme au tournant des XIXe et XXe siècles. Loin d’être un phénomène isolé, le séjour dans ce pays pendant la période coloniale concerne des centaines d’artistes. Ces voyages sont encouragés et parfois même financés par des sociétés artistiques métropolitaines et par les gouvernements coloniaux. À Paris, des Salons et des expositions, comme les Expositions coloniales ou universelles, réservent des espaces spécifiques aux œuvres sur les colonies. Plusieurs artistes, critiques et conservateurs tentent par ailleurs de montrer de quelle manière l’art colonial est utile pour la propagande colonialiste. Après avoir retracé l’expérience marocaine des peintres français, il s’agira de présenter les principales institutions artistiques et culturelles occidentales dans le Protectorat. L’art colonial reprend certains thèmes orientalistes, mais leur apporte davantage de sobriété, de pondération et de vraisemblance. L’iconographie coloniale marocaine se distingue de celles des autres colonies par le nombre important d’œuvres consacrées aux cavaliers, aux Berbères et aux monuments historiques. Cette spécificité est due en partie à la politique culturelle menée par Lyautey, au développement de l’ethnographie marocaine et aux objectifs assignés à l’art colonial. Cette analyse est complétée par un dictionnaire des artistes du corpus. / Through the study of French painters gone to Morocco during the Protectorate, this thesis reviews the structures and the emergence of Colonial art, which followed Orientalism at the turn of the century. Far from being an isolated phenomenon, hundreds of artists stayed in this country during the colonial period. The journey is motivated and even sometimes founded by artistic metropolitan societies and by colonial governments. In Paris, Salons and exhibitions such as World's Fairs and Colonial exhibitions dedicate specific areas to works on the colonies. Many artists, critics or curators also attempt to demonstrate how Colonial art can be useful to colonial propaganda. After outlining the French painters’ Moroccan experience, the main artistic and cultural occidental institutions during the Protectorate will be presented. Colonial art continues to represent some Orientalist themes but integrate them with more restraint, moderation and realism. Moroccan colonial iconography can be distinguished from the other colonies by the amount of work dedicated to horse riders, to Berbers and to historical monuments. This particularity is partly due to the cultural policy pursued by Lyautey, to the development of Moroccan ethnography and to the specific goals targeted for Colonial art. This analysis is followed by a dictionary of the artists corpus.

M.Tech. / The landscape of South Africa has changed dramatically since early colonisation. Even so, it appears that the conventions employed in portraying landscapes have not; colonial landscape imagery that helped promote European immigration to this country during the Nineteenth Century remains remarkably similar to conventions employed in contemporary landscape representation used to market game reserves. In this dissertation, it is argued that colonial landscape imagery facilitates and supports a view of nature as an „authentic‟ wilderness available for expropriation. It is proposed that wildlife reserves, both in their intent and realisation, present a simulacrum of wilderness, also available for the consumer and promoted by advertising imagery. It is further argued that it remains the imperative commodification of nature which informs the pictorial conventions adopted in both cases. Thus, the myths inherent in both colonial representations of landscape and the utopian vision proffered in game reserve marketing are challenged. This research project employs discourse analysis that is framed in a qualitative, interpretative paradigm. Colonial imagery is examined in terms of post-colonialist critique of imperial landscape representation, while a post-modern approach is used to investigate contemporary imagery. This research project demonstrates that landscape imagery used to promote a „natural‟ wildlife site, is persistently presented according to prescribed canon as a functioning system regardless of its actual condition. Futhermore, the research project leads to an alternative view of nature, presented in my practical work, that is cognisant of the problems experienced in reality.

Ao longo de pouco mais de um século, o XVIII, Minas passou de amplo sertão para uma sociedade com complexas características econômicas, urbanas e artísticas. Tudo a partir dos achados auríferos. Aleijadinho bem representa esta transposição social para terras americanas, colaborando em como Minas e o Brasil começaram a se ver. Os Passos e Profetas de Congonhas, o maior projeto do mestre mineiro, já no final de sua vida, refletiriam não apenas os resultados do período, mas também seu encerramento. Ainda, poderiam marcar, na periferia do Ocidente, o desfecho do barroco a nível mundial. A conclusão tardia das obras, no século XIX, aconteceu quando a experiência religiosa tendia a diminuir - e a artística a aumentar. Assim, Congonhas se abriu para um novo sentido, mais estético. Obras de tal envergadura não poderiam se resguardar de discussão, inclusive sobre a experiência dinâmica de vivenciá-las, no que pretendemos contribuir com a presente pesquisa. / Over a little more than a century, the eighteenth, Minas (in Brazil) moved from a broad backlands to a society with complex economic, urban and artistic characteristics. All from the gold findings. Along with this trans-position to American lands, Aleijadinho very much represented and collabo-rated in how Minas and Brazil happened to see itself. The Passos and Pro-fetas of Congonhas, the greatest project of the master, at the end of his life, would reflect not only the results of the period, but also its closure. In addi-tion, they could mark, on the periphery of the West, the end of the baroque in the world. The late conclusion of the works, in the nineteenth century, happened at a time when religious experience tended to diminish and the artistic one to increase. Thus, Congonhas opened to a new, more aesthetic sense. Works of such magnitude could not be safeguarded from discussion, even about the dynamic experience of appreciating them, in which we in-tend to contribute with the present research.

Ao longo de pouco mais de um século, o XVIII, Minas passou de amplo sertão para uma sociedade com complexas características econômicas, urbanas e artísticas. Tudo a partir dos achados auríferos. Aleijadinho bem representa esta transposição social para terras americanas, colaborando em como Minas e o Brasil começaram a se ver. Os Passos e Profetas de Congonhas, o maior projeto do mestre mineiro, já no final de sua vida, refletiriam não apenas os resultados do período, mas também seu encerramento. Ainda, poderiam marcar, na periferia do Ocidente, o desfecho do barroco a nível mundial. A conclusão tardia das obras, no século XIX, aconteceu quando a experiência religiosa tendia a diminuir - e a artística a aumentar. Assim, Congonhas se abriu para um novo sentido, mais estético. Obras de tal envergadura não poderiam se resguardar de discussão, inclusive sobre a experiência dinâmica de vivenciá-las, no que pretendemos contribuir com a presente pesquisa. / Over a little more than a century, the eighteenth, Minas (in Brazil) moved from a broad backlands to a society with complex economic, urban and artistic characteristics. All from the gold findings. Along with this trans-position to American lands, Aleijadinho very much represented and collabo-rated in how Minas and Brazil happened to see itself. The Passos and Pro-fetas of Congonhas, the greatest project of the master, at the end of his life, would reflect not only the results of the period, but also its closure. In addi-tion, they could mark, on the periphery of the West, the end of the baroque in the world. The late conclusion of the works, in the nineteenth century, happened at a time when religious experience tended to diminish and the artistic one to increase. Thus, Congonhas opened to a new, more aesthetic sense. Works of such magnitude could not be safeguarded from discussion, even about the dynamic experience of appreciating them, in which we in-tend to contribute with the present research.

Orientadores: Edmundo Pacheco Hora, Adriana Giarola Kayama / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T21:11:58Z (GMT). No. of bitstreams: 1 Leeuwen_Alexandravan_D.pdf: 61130594 bytes, checksum: 502a385dcc8ddbd2ef2bc5bef247b314 (MD5) Previous issue date: 2014 / Resumo: A significativa presença de mulheres mulatas no meio musical do Brasil Colônia e sua atuação profissional contrastante à participação dos castrati no cenário lusitano, inspirou-nos a propor um estudo específico relacionado às mulheres no ambiente lírico-musical carioca, a fim de identificar as particularidades de sua presença segundo as informações contidas nos manuscritos musicais da época. Em um primeiro momento, contextualizamos a presença feminina nas artes, considerando uma leitura interdisciplinar. Num segundo, tivemos por foco a atividade no Teatro de Manuel Luís ¿ Casa da Ópera carioca também conhecida por Ópera Nova, ou ainda, Real Theatro ou Teatro Régio, cujo período de funcionamento remete às últimas décadas do XVIII até o ano de 1813 ¿ e, mais especificamente, o seu repertório. Estudos recentes permitiram identificar a utilização em terras coloniais de manuscritos de música dramática luso-brasileira pertencentes ao fundo musical da Biblioteca do Paço Ducal de Vila Viçosa (Portugal). Este material ¿ possivelmente depositado no palácio da família Bragança após o retorno de D. João VI a terras lusitanas em 1821 ¿ inclui óperas italianas, música de comédias, entremezes/farças e obras ocasionais, dentre os quais destacamos os manuscritos da ópera La modista raggiratrice, de , devido às informações únicas quanto à execução no teatro carioca. Por meio de um estudo analítico destes manuscritos e considerações relacionadas à ornamentação e questões técnico-vocais, buscamos delimitar a atuação das cantoras no teatro carioca no período proposto não somente como coadjuvantes, mas como agentes transformadoras da estética musical à época na colônia. Incluímos a transcrição dos números musicais da ópera La modista... nos quais há participação de personagens femininas, conforme a sua execução no teatro carioca pelas intérpretes Joaquina Lapinha, Maria Candida e Francisca ¿ três das cantoras/atrizes do Teatro de Manuel Luís / Abstract: The significant presence of mulatto women in the music of Colonial Brazil and her professional activity in contrast to participation of castrati in the Lusitanian scene inspired us to propose this specific study. Therefore, this research looks into the women in Rio de Janeiro¿s lyrical-musical environment in order to identify the particularities of their presence according to the information contained in the musical manuscripts of the period. Initially, we contextualized the female presence in the arts, taking into consideration an interdisciplinary reading. Afterwards, we focused on the activity at the Theatre of Manuel Luís ¿ Casa da Ópera also known as the Ópera Nova, or even Royal Theatre or Teatro Régio, operating from the last decades of the eighteenth century until the year of 1813 ¿ and more specifically, its repertoire. Recent studies have identified the use of Luso-Brazilian dramatic music manuscripts in colonial lands belonging to the Ducal Palace¿s Library at Vila Viçosa (Portugal). This material ¿ possibly deposited in Bragança family¿s palace after the return of D. João VI to the Lusitanian lands in 1821 ¿ includes Italian operas, music comedies, entremezes/farças and other occasional works, among which we selected the manuscripts of the opera La modista raggiratrice, composed by Giovanni Paisiello (1740-1816), due to the unique information related to its performance on the Carioca stage. We also developed an analytical study of these manuscripts and made some considerations in regard to ornamentation and technical-vocal issues, seeking to define the role of the female singers in the Carioca stage in the proposed period not only as supportive musicians, but rather as transformative agents of musical aesthetics in the Colony. We include the transcription of the musical numbers from the opera La modista..., in which there are female characters, according to the Colonial performance given by the female singers Joaquina Lapinha, Maria Candida and Francisca ¿ three of the singers/actresses of the Theatre of Manuel Luís / Doutorado / Praticas Interpretativas / Doutora em Música

Ce travail s'attache à mettre en lumière les liens inévitables entre une architecture exprimant un message universel et les terroirs culturels au milieu desquels elle s'édifie. Prenant le cas jugé exemplaire de la mission catholique à Taiwan, du milieu du XIXe siècle à nos jours, l'analyse des archives missionnaires, ainsi que l'étude de quelques monuments emblématiques, montrent les modalités de l'adaptation chrétienne à un contexte multiculturel insulaire en mutation rapide. La résistance et la malléabilité propres de l'art architectural permettent une étude originale et détaillée de ce va-et-vient constant entre la perception évolutive par les missionnaires du terroir formosan, et la réception, elle-même évolutive, du message chrétien par cette société particulière. En plusieurs étapes, cette recherche plonge au cœur de l'œuvre des Missions Etrangères de Paris dans le diocèse de Hualien, durant les années cinquante et soixante, ancrant les idées directrices de cette thèse dans la réalité d'un terrain suffisamment circonscrit pour en donner une image exhaustive. Le but poursuivi est de montrer comment un bâtiment dédié au culte peut être un objet pertinent, pour la compréhension des rapports entre les cultures et des dynamiques de la mondialisation actuelle. / This study aims at bringing to light the links that are bound to exist between an architecture expressing a universal message and the cultural landscapes where the architecture is built. With the exemplary case of the Catholic mission in Taiwan, from the mid nineteenth century to today, the analysis of the missionary archives, combined with research on several emblematic buildings, will show the modality of the Christian adaptation to this multicultural background of an island undergoing rapid change. The resilience and the malleability specific to the architectural art provide for an original and detailed study of this constant toing and froing between the evolutive perception by the missionaries of the Formosan landscape, and the reception, itself evolutive, by this particular society of the Christian message. Gradually, this thesis immerses itself in the heart of the work of the Paris Foreign Mission Society, in the diocese of Hualien, during the nineteen fifties and sixties, grounding the major concepts in the reality of a field limited enough to make it possible to provide an exhaustive image. The aim is to prove how a place of worship can be relevant for a better understanding of cultural exchanges and the momentum of the current globalization process.