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Les expositions de photographie à Paris sous le Second Empire et leur réception par la critique /Bocard, Hélène, January 2004 (has links)
Th.--Hist. de l'art--Paris 4, 2004. / Bibliogr. p. 489-516.
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Literatur und Zeitgeschichte in der Sowjetunion : zum Wandel alternativer Geschichtsentwürfe in der sowjetischen Prosa und Literaturkritik der 60er bis 80er Jahre /Waschik, Klaus. January 2000 (has links)
Diss.--Lett.--Bochum--Univ., 1988. / Bibliogr. p. 362-372. Notes bibliogr.
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The language of the Kingdom and Jesus : parable, aphorism and metaphor in the Sayings material common to the synoptic tradition and the Gospel of Thomas /Liebenberg, Jacobus, January 2001 (has links)
Texte remanié de: Doct. diss.--Berlin--Humboldt university, 1998. / Bibliogr. p. 531-547.
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Textkritik als Problem der Kulturwissenschaften : Tristan-Lektüren /Baisch, Martin, January 1900 (has links)
Texte remanié de: Dissertation--Fachbereich Philosophie und Geisteswissenschaften--Berlin--Freie Universität, 2001. / Bibliogr. p. 354-399.
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"Er sieht einen Fleck, er malt einen Fleck." : physiologische Optik, Impressionismus und Kunstkritik /Cugini, Carla, January 1900 (has links)
Texte remanié de: Dissertation--Universität Zürich--Philosophischen Fakultät, 2001/2002. / Bibliogr. p. 221-245.
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The historical Jesus and the final judgment sayings in Q /Gregg, Brian Han, January 1900 (has links)
Texte remanié de: Doctoral dissertation--University of Notre Dame, 2005. / Bibliogr. p. 291-313.
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Définitions et sens du bénévolat : discours d'acteurs sociaux et d'experts /Mercier, Annick. January 2008 (has links) (PDF)
Thèse (M.A.)--Université Laval, 2008. / Bibliogr.: f. 115-118. Publié aussi en version électronique dans la Collection Mémoires et thèses électroniques.
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Évolution de la critique libertaire du travail entre le XIXe siècle et le XXe siècle /Letarte, Jo. January 2009 (has links) (PDF)
Thèse (M.A.)--Université Laval, 2009. / Bibliogr.: f. 81-99. Publié aussi en version électronique dans la Collection Mémoires et thèses électroniques.
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FIN ET MOYENS DANS L'OEUVRE D'EDWARD BOND /TORTI ALCAYAGA, AGATHE. Boireau, Nicole. January 1997 (has links) (PDF)
Thèse de doctorat : ETUDES ANGLAISES : Metz : 1997. / 1997METZ003L. 373 ref.
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An Arranged Deconstruction: The Feminist Art Practice of Louise LawlerNiles, Krista Joy January 2015 (has links)
The purpose of this thesis is to examine the artistic production of photo artist Louise Lawler and the evolution of critical response to her work between the 1970s and 1990s. Of main concern are the manner in which early scholarship and exhibition reviews effectively situated Lawler's work within the discourse of institutional critique, a field of critical scholarship and artistic production that examines institutions of art such as museums and galleries. The objective of this thesis is to reexamine Lawler from a feminist art historical perspective using French feminist theory to investigate how her work can arguably be considered to be a feminist intervention into the patriarchal structures of museums, galleries, and connoisseurship. Lawler's dominant practice is photographic in nature, yet she does not consider herself a photographer. Like many artists of her generation Lawler has capitalized upon the indexical nature of the photographic medium, using it as a tool to create images that "document" art objects in situ. She has made her art in all the places in which artworks circulate or are displayed, be it the curated spaces of museums, an auction house or a private house, well-lit gallery show room walls or crowded and dark storage rooms. Throughout her forty-year career Lawler has worked to disrupt the patriarchy of the art world by drawing attention to philosophies of display and exhibition. She has shown us what is not on display within art systems by consistently showing us what is on display. She has refused to comply with systems or organization, crafting textual interventions that disrupt the linguistics of wall labels and titles of artworks. She has fragmented and dislocated the authorship of artists to their works, and she has appropriated curatorial practices to claim both the physical spaces of display and gain control of what objects are deemed valuable enough to be shown there. Lawler's work has consistently interrupted normative practices of art institutions, effectively disrupting the patriarchy inherent within the systems and structures to define art.
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