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  • 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.
111

Gezähmte Wilde die Zurschaustellung "exotischer" Menschen in Deutschland 1870-1940 /

Dreesbach, Anne. January 2005 (has links)
Thesis (doctoral) - Ludwig-Maximilians-Universität München, 2003. / Includes bibliographical references.
112

A festa e os ritos do touro bravo-contribuição para o seu estudo

Teixeira, Fernando, 1927- January 1995 (has links)
No description available.
113

Contribuição para o estudo dos factores ambientais que podem interferir no desempenho físico do toiro bravo durante a lide

Antunes, Nuno Miguel Griné January 2002 (has links)
No description available.
114

Curadorias compartilhadas : um estudo sobre as exposições realizadas no Museu da Universidade Federal do Rio Grande do Sul (2002 a 2009)

Leitzke, Maria Cristina Padilha January 2012 (has links)
Esta dissertação tem como foco de estudo as curadorias compartilhadas no Museu da UFRGS, no período de 2002 a 2009. Trata-se de um estudo de caso, constituído pela análise das curadorias referentes a quatro exposições: Artistas Professores (2002), Total Presença: Gravura (2005), Homem-Natureza: cultura, biodiversidade e sustentabilidade (2006) e Em casa, no universo (2009). Para a realização do estudo proposto foram utilizados três tipos de fontes: escritas, orais e visuais (imagens, constituídas por fotografias). O referencial teórico abarca autores da história da educação e da história cultural, da historicidade e dinâmica dos museus, bem como estudos recentes sobre curadorias em museus. O objeto de pesquisa constituiu-se, inicialmente, numa primeira aproximação com os catálogos e demais materiais impressos, disponíveis no arquivo do museu, resultado das exposições realizadas. Logo, em seguida, foram feitas as entrevistas com os agentes internos e externos ao museu, envolvidos na concepção, produção e realização destas exposições. Por meio da análise destas narrativas buscou-se identificar as experiências dos professores-pesquisadores com curadorias, bem como evidenciar alguns elementos que corroboram ou negam a assertiva de que as curadorias no museu da UFRGS podem ser consideradas curadorias compartilhadas. Além disso, procurou-se saber acerca da atuação dos professores-pesquisadores da Universidade como curadores de exposições, bem como sobre as representações destes docentes, com relação ao museu da UFRGS. Os resultados apontam no sentido de que as exposições realizadas no Museu da UFRGS podem ser caracterizadas como casos de curadorias compartilhadas, principalmente, com relação às curadorias das exposições de ciências. / This dissertation focuses on the study of the shared curatories at the UFRGS Museum, from 2002 to 2009. This is a case study, constituted by the analysis of the curatories related to four exhibitions: Artists Professors (2002), Total Presence: Picture (2005), Human-Nature: culture, biodiversity and sustainability (2006) and At home, in the universe (2009). To conduct the proposed study it was used three types of sources of information: written, oral and visual (images, consisting of photographs). The theoretical framework includes authors of the history of education and cultural history, history and dynamics of museums, as well as recent studies of museum curators. The object of research was, initially, an approach to the catalogs and other printed materials available in the archives of the museum, produced on the exhibitions. After, interviews were conducted, with internal and external agents, which were involved in the design, production and implementation of these exposures. By analyzing these narratives it was searched the experience of research-professors as curators. Furthermore, by analyzing these stories it was possible to evidence some elements that corroborate or deny the assertion that the curatories of the UFRGS Museum can be considered as shared. In addition, this work tried to know about the performance of research-professors of the University as curators of exhibitions. The results point that the curatories at the UFRGS Museum can be characterized as shared, especially those related to science exhibitions.
115

New Deal Art Now: Reframing the Artifacts of Diversity

Allee, Jessica 01 December 2014 (has links)
New Deal Art Now offers a sampling of the breadth of the Works Progress Administration and Federal Art Projects (WPA/FAP), calling attention to the skills, histories, and social identities of an extraordinarily diverse spectrum of professional and amateur artists funded by the United States federal government during the Great Depression. The New Deal, a major economic stimulus initiative that ran from 1935-1943, included the Works Progress Administration Federal One Projects, encompassing fine art, music, theater, writing, and design. These projects provided economic support and cultural enrichment to hundreds of thousands of Americans, in the form of jobs, entertainment, and education in the arts. New Deal Art Now seeks to reframe a period of United States artistic production that is often narrowly cast in exhibitions and their related literature on the subject. The theme of diversity is explored through several critical lenses, such as questioning the relationship between art and artifact, considering that many creative works of the New Deal function as both. The majority of the exhibited artworks are juxtaposed against one another to challenge the designations that contemporary material culture traditionally assigns them. Showcasing 48 objects in total, the exhibits include painting, sculpture, educational models, archival film, and archival audio, which are juxtaposed alongside contemporary paintings, photography, and music, created in conjunction with this exhibition. By situating these works (as well as the very categories of amateur and professional, art and artifact, museum and archive, past and present) in productive relation to one another this exhibition argues for the significance of all of these works and artists to the diverse history of twentieth-century American art.
116

Curadorias compartilhadas : um estudo sobre as exposições realizadas no Museu da Universidade Federal do Rio Grande do Sul (2002 a 2009)

Leitzke, Maria Cristina Padilha January 2012 (has links)
Esta dissertação tem como foco de estudo as curadorias compartilhadas no Museu da UFRGS, no período de 2002 a 2009. Trata-se de um estudo de caso, constituído pela análise das curadorias referentes a quatro exposições: Artistas Professores (2002), Total Presença: Gravura (2005), Homem-Natureza: cultura, biodiversidade e sustentabilidade (2006) e Em casa, no universo (2009). Para a realização do estudo proposto foram utilizados três tipos de fontes: escritas, orais e visuais (imagens, constituídas por fotografias). O referencial teórico abarca autores da história da educação e da história cultural, da historicidade e dinâmica dos museus, bem como estudos recentes sobre curadorias em museus. O objeto de pesquisa constituiu-se, inicialmente, numa primeira aproximação com os catálogos e demais materiais impressos, disponíveis no arquivo do museu, resultado das exposições realizadas. Logo, em seguida, foram feitas as entrevistas com os agentes internos e externos ao museu, envolvidos na concepção, produção e realização destas exposições. Por meio da análise destas narrativas buscou-se identificar as experiências dos professores-pesquisadores com curadorias, bem como evidenciar alguns elementos que corroboram ou negam a assertiva de que as curadorias no museu da UFRGS podem ser consideradas curadorias compartilhadas. Além disso, procurou-se saber acerca da atuação dos professores-pesquisadores da Universidade como curadores de exposições, bem como sobre as representações destes docentes, com relação ao museu da UFRGS. Os resultados apontam no sentido de que as exposições realizadas no Museu da UFRGS podem ser caracterizadas como casos de curadorias compartilhadas, principalmente, com relação às curadorias das exposições de ciências. / This dissertation focuses on the study of the shared curatories at the UFRGS Museum, from 2002 to 2009. This is a case study, constituted by the analysis of the curatories related to four exhibitions: Artists Professors (2002), Total Presence: Picture (2005), Human-Nature: culture, biodiversity and sustainability (2006) and At home, in the universe (2009). To conduct the proposed study it was used three types of sources of information: written, oral and visual (images, consisting of photographs). The theoretical framework includes authors of the history of education and cultural history, history and dynamics of museums, as well as recent studies of museum curators. The object of research was, initially, an approach to the catalogs and other printed materials available in the archives of the museum, produced on the exhibitions. After, interviews were conducted, with internal and external agents, which were involved in the design, production and implementation of these exposures. By analyzing these narratives it was searched the experience of research-professors as curators. Furthermore, by analyzing these stories it was possible to evidence some elements that corroborate or deny the assertion that the curatories of the UFRGS Museum can be considered as shared. In addition, this work tried to know about the performance of research-professors of the University as curators of exhibitions. The results point that the curatories at the UFRGS Museum can be characterized as shared, especially those related to science exhibitions.
117

Curadorias compartilhadas : um estudo sobre as exposições realizadas no Museu da Universidade Federal do Rio Grande do Sul (2002 a 2009)

Leitzke, Maria Cristina Padilha January 2012 (has links)
Esta dissertação tem como foco de estudo as curadorias compartilhadas no Museu da UFRGS, no período de 2002 a 2009. Trata-se de um estudo de caso, constituído pela análise das curadorias referentes a quatro exposições: Artistas Professores (2002), Total Presença: Gravura (2005), Homem-Natureza: cultura, biodiversidade e sustentabilidade (2006) e Em casa, no universo (2009). Para a realização do estudo proposto foram utilizados três tipos de fontes: escritas, orais e visuais (imagens, constituídas por fotografias). O referencial teórico abarca autores da história da educação e da história cultural, da historicidade e dinâmica dos museus, bem como estudos recentes sobre curadorias em museus. O objeto de pesquisa constituiu-se, inicialmente, numa primeira aproximação com os catálogos e demais materiais impressos, disponíveis no arquivo do museu, resultado das exposições realizadas. Logo, em seguida, foram feitas as entrevistas com os agentes internos e externos ao museu, envolvidos na concepção, produção e realização destas exposições. Por meio da análise destas narrativas buscou-se identificar as experiências dos professores-pesquisadores com curadorias, bem como evidenciar alguns elementos que corroboram ou negam a assertiva de que as curadorias no museu da UFRGS podem ser consideradas curadorias compartilhadas. Além disso, procurou-se saber acerca da atuação dos professores-pesquisadores da Universidade como curadores de exposições, bem como sobre as representações destes docentes, com relação ao museu da UFRGS. Os resultados apontam no sentido de que as exposições realizadas no Museu da UFRGS podem ser caracterizadas como casos de curadorias compartilhadas, principalmente, com relação às curadorias das exposições de ciências. / This dissertation focuses on the study of the shared curatories at the UFRGS Museum, from 2002 to 2009. This is a case study, constituted by the analysis of the curatories related to four exhibitions: Artists Professors (2002), Total Presence: Picture (2005), Human-Nature: culture, biodiversity and sustainability (2006) and At home, in the universe (2009). To conduct the proposed study it was used three types of sources of information: written, oral and visual (images, consisting of photographs). The theoretical framework includes authors of the history of education and cultural history, history and dynamics of museums, as well as recent studies of museum curators. The object of research was, initially, an approach to the catalogs and other printed materials available in the archives of the museum, produced on the exhibitions. After, interviews were conducted, with internal and external agents, which were involved in the design, production and implementation of these exposures. By analyzing these narratives it was searched the experience of research-professors as curators. Furthermore, by analyzing these stories it was possible to evidence some elements that corroborate or deny the assertion that the curatories of the UFRGS Museum can be considered as shared. In addition, this work tried to know about the performance of research-professors of the University as curators of exhibitions. The results point that the curatories at the UFRGS Museum can be characterized as shared, especially those related to science exhibitions.
118

Entre o museu e a praça : o legado de Lygia Clark e Helio Oiticica / Between the museum and the square, the artistic legacy of Lygia Clark and Helio Oiticica

Moraes, Marcia Martins Rodrigues de 30 June 2006 (has links)
Orientador: Maria de Fatima Morethy Couto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T06:11:05Z (GMT). No. of bitstreams: 1 Moraes_MarciaMartinsRodriguesde_M.pdf: 2220447 bytes, checksum: 93444011f38c863dfc681cf69cc62e2a (MD5) Previous issue date: 2006 / Resumo: O descompasso entre a arte contemporânea e as convenções museológicas já se delineia há algumas décadas, e pode ser explicado pelo fato de que o museu convencionado durante o modernismo tornou-se inadequado frente às produções artísticas mais recentes e não oferece lugar apropriado a este tipo de arte. Nesta pesquisa de mestrado proponho discutir a incorporação dos trabalhos de Lygia Clark e Hélio Oiticica por parte deste museu tradicional, atentando para a posição avessa e crítica dos dois artistas frente a estrutura museológica. Levando em consideração que os trabalhos de ambos se opõem à forma expositiva em que o espectador tem um lugar passivo, de receptor, e não de produtor dos sentidos da obra, e propõem uma relação dinâmica e dialógica entre artista, obra e espectador, pretendo discutir como se dá a incorporação destes trabalhos em um espaço avesso a essas questões / Abstract: The divergence between contemporary art and the museological conventions that has persisted for some decades, can be explained by the fact that the modern museum has become inadequate in relation to the present artistic production. In this dissertation we intend to discuss the museum¿s assimilation of Lygia Clark and Helio Oiticica¿s art works, considering both artist¿s critical view of the traditional space ¿ where the spectator is placed in the passive position of receptor ¿ and their proposition of a dynamic and dialogical relation between artist, work and spectator. Thus, we aim at discussing the manners in which these works are presented in a space traditionally hostile to the questions raised by these artists / Mestrado / Mestre em Artes
119

Curating the artist-run space : exploring strategies for a critical curatorial practice

Pryde-Jarman, D. January 2013 (has links)
The once distinct roles of artist and curator have blurred dramatically in recent decades owing to a blending process in both directions, which has led to a turn towards the concept of the curator as producer and author, and the development of the hybridised figure of the ‘artist-curator’. Within my practice-based curatorial research at Meter Room and Grey Area, the 'artist-run space', as both form and content of space, is used as a critical framework for artist-curatorship. Artist-run spaces play a significant role in the cultural ecology of the UK, and this project explores the power relations involved in the production, distribution, and consumption of work within the field, in terms of both a cause and effect of a contested relationship with institutions and commercial galleries. Artist-run spaces are initiated for a number of reasons, but this project specifically focuses upon those spaces that identify with terms such as ‘independent’, 'alternative', ‘not-for-profit’, ‘DIY’, ‘self-organised’, and ‘critically engaged’. Using strategies for the development of a critical practice, such as Chantal Mouffe’s theories on ‘counter-hegemony’ and ‘agonistic space’ (2007), and Gerald Raunig's concept of 'instituent practice' (2009), this project explores how curatorial practices within artist-curator-run spaces might offer different ways of working, and be used to contest hegemonic structures within the field. I explore the role of critique within curatorial practice, specifically in relation to the struggle for autonomy, the production of subjectivity, and strategies for negating or resisting cooption by the New Institutions of post-Fordist neoliberalism. Three curatorial strategies were developed from experimental projects at both spaces, and then explored at Meter Room over a 2-year period. These strategies sought to occupy institutional structures in new ways: through the re-functioning of 'void' space, blending studio and gallery functions within a Curatorial Studio, developing a paracuratorial practice referred to as Caretaking, and re-approaching the concept of a collection-based institution through processes of layering works and their vestiges within an Artist-run Collection. The practice-based research culminated in a 5-month durational project in collaboration with five other artist-run spaces based in the West Midlands region, which explored a strategy for the creation of a new speculative artist-run institution as a dialogical process of instituting values through a critical curatorial practice.
120

The Exhibition as a Medium for Developing Community Awareness to Good Design in Useful Objects Available in Wichita Falls, Texas

Tyson, Phoebe W. 06 1900 (has links)
Realizing the need on the part of the general public for a better background for selection of useful household objects that combine utility and beauty of line, the author planned an exhibition in an attempt to develop a community awareness to good design in useful objects available in Wichita Falls, Texas.

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