Cette thèse porte sur les représentations de l’Indien présentées dans les Salons parisiens et dans les sections des Beaux-Arts des Expositions universelles françaises. Elle débute avec la première apparition du thème au Salon, en 1781, et s’achève à sa disparition progressive, au commencement de la Première Guerre Mondiale. Le corpus rassemble des œuvres hétérogènes dont l’étude s’articule autour de trois grandes campagnes de représentation marquées par l’histoire des relations entre les Blancs et les Amérindiens. L’iconographie amérindienne dévoile une figure à la fois attractive et répulsive ; à l’esthétique de la disparition du «bon sauvage» répondent des mises en scène dégradantes. Notre étude rend ainsi compte des sources des imaginaires collectifs et des stéréotypes raciaux assignés à la représentation de l’Indien. Mais l’iconographie amérindienne survient également des impressions d’artistes ayant été à la rencontre de leur sujet. Pour ce groupe de quelques Français et Américains, la question de la représentation de l’«Autre» ne se joue pas exclusivement à travers les schèmes esthétiques abordés auparavant. Les déplacements répétés sur le continent nord-américain et l’attention portée à l’art amérindien favorisent un élargissement des horizons artistiques. Cette thèse est enfin l’occasion d’étudier l’image de l’«Autre» dans le cadre compétitif des Expositions universelles, où la figure de l’Indien tergiverse entre recherche de vraisemblance et sujet d’art. Il en ressort la constitution d’un discours visant à encourager la construction d’une identité esthétique nationale américaine au contact de l’art français. / This Ph. D. dissertation investigates images of Native Americans displayed at the Paris Salons and in the Fine Art sections of the Great Exhibitions of 1855, 1868, 1878, 1889 and 1900. My analysis starts with the first outbreak of the theme at the 1781 Salon and ends following its gradual dismissal at the beginning of the First World War. The body of artworks I analyze documents three main campaigns of representation marked by the history of Native Americans and Whites relations. These representations reveal an artistic figure both attractive and repulsive at the same time. The rhetoric of the disappearance of the “Noble Indian” alternates with degrading images of the “Savage Indians”. Our study reveals the origins of collective imagination and racial stereotypes that originate representations of “Indians”. But this iconography is also based on artists’ itinerancies and their migration to the West in order to meet their models. The artistic production of this small group of French and American artists can not be reduced exclusively to the two aesthetic patterns previously discussed. Their travels on the North American territory and their attention to Native American Art encourage new artistic horizons at the Paris venues. This thesis is also an opportunity to study the image of the Native American “Others” displayed in the competitive Fine Art sections of the Great Exhibitions. It brings out a discourse promoting the figure of the “Indian” to build an American art with its own aesthetic in response to French artistic influences.

DISERTAČNÍ PRÁCE Univerzita Karlova v Praze Filozofická fakulta Ústav pro dějiny umění Studijní program Dějiny výtvarného umění Jan Mergl Výtvarný vývoj produkce Harrachovské sklárny v Novém Světě 1850-1940 Art Development of the Production of the Harrach Glassworks in Nový Svět 1850-1940 Abstract Vedoucí práce: Doc. PhDr. Jana Kybalová, CSc. 2014 ABSTRACT Highly regarded throughout the world, Bohemian glass is also acknowledged as a cultural phenomenon in its own right and the Harrach glassworks in Nový Svět in Krkonoše indisputably ranks among the most accomplished companies that have had a determining influence on the world renown of Czech glassmaking. First documented in the early 18th century, the glassworks has been in existence for three hundred years. However, its prominent status among Bohemian producers of glass is not only due to its long history. What makes it noteworthy is its traditionally outstanding craftsmanship and technological facilities, and mainly its foresighted efforts to employ and further enhance diverse techniques in working with crystal and coloured glass. Thus, the factory was able to readily respond to the changes in the styles of glass as these developed from the 18th to the 20th centuries. This work is the outcome of long-term, focused research of archival sources, especially...

NOTE FROM THE LIBRARY: PLEASE CONTACT THE AUTHOR AT indisunflower@yahoo.com OR CONSULT THE LIBRARY FOR THE FULL TEXT OF THIS THESIS.... This thesis investigates the trajectory traced from Sarah Baartman, a Khoisan woman exploited in Europe during the nineteenth century, to a contemporary writing workshop with circumcised, immigrant West African women in Harlem New York by way of a selection of African women's memoirs. The selected African women's texts used in this work create a new testimony of speech, fragmenting a historically dominant Euro-American gaze on African women's bodies. The excerpts form a discursive space for reclaiming self and as well as a defiant challenge to Western porno-erotic voyeurism. The central premise of this thesis is that while investigating Eurocentric (a)historical narratives of Baartman, one finds an implicitly racist and sexist development of European language employed not solely with Baartman, but contemporaneously upon the bodies of Black women of Africa and its Diaspora, focusing predominantly on the "anomaly of their hypersexual" genitals. This particular language applied to the bodies of Black women extends into the discourse of Western feminist movements against African female circumcision in the 21st century. Nawal el Saadawi, Egyptian writer and activist and Aman, a Somali exile, write autobiographical texts which implode a western "silent/uninformed circumcised African woman" stereotype. It is through their documented life stories that these African women claim their bodies and articulate nationalist and cultural solidarity. This work shows that Western perceptions of Female Circumcision and African women will be juxtaposed with African women's perceptions of themselves. Ultimately, with the Nitiandika Writers Workshop in Harlem New York, the politicized outcome of the women who not only write their memoirs but claim a vibrant sexual (not mutilated or deficient) identity in partnership with their husbands, ask why Westerners are more interested in their genitals than how they are able to provide food, shelter and education for the their families, as immigrants to New York. The works of Saadawi, Aman and the Nitandika writers disrupt and ultimately destroy this trajectory of dehumanization through a direct movement from an assumed silence (about their bodies, their circumcisions and their status as women in Africa) to a directed, historically and culturally grounded "alter" speech of celebration and liberation. / English Studies / D. Litt. et Phil.(English)

As an alternative to existing research which states that the phenomenon of displacement resists theorisation because of its complex nature, this study conducts a Phenomenological examination of the nature of displacement in which the interlinked losses in the key concepts of the consciousness of the displaced, namely Memory, Land and home and Identity, are navigated. It is shown that the current consciousness of society mimics these losses with the effect of displacement being experienced as a state of mind by contemporary society. By comparing selected artworks of artists Rachel Whiteread and Cornelia Parker, it is established that although manifested in diverse ways, contemporary artworks reflect displacement according to a set of broadly defined visual signifiers. The visual documentation of a site of displacement in the North West Province of South Africa and subsequently produced artworks underline these findings and highlight the elusive attributes of loss inherent in the displacement phenomenon. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Made available in DSpace on 2016-12-08T16:19:08Z (GMT). No. of bitstreams: 1 101338.pdf: 3300469 bytes, checksum: d9be952553f8c0738129e7c86e31f4c9 (MD5) Previous issue date: 2011-07-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work's point of departure takes the distance between the public and contemporary art. It develops an analysis of some exhibition's proposals and their conceptions of educational processes, considering them as alternatives to the approch between contemporary art and the public. For that, it reports three proposals, as the focus of the pressuposing relationships that it would be established among their interlocutors and the art of our time. Moreover, it presents some parallels with the concepts related to educational processes intended on these art exhibitions, as well as their new interactions that is now established among the public, artwork and art space and their interrelationships. Thus the possibilities of dialogue between the enunciatee public and the exhibition's enunciators are important references for the analysis. Finally, it is crucial to consider, as one of the goals of this research, highlighting the relevant aspects of the cases reviewed, specific or common, which offers possible contributions to the future of educational action on exhibition spaces for contemporary art / O presente trabalho parte do distanciamento que se observa entre o público e a arte contemporânea. Desenvolve-se uma análise de propostas expositivas e suas respectivas concepções de processos educacionais, considerando-as como alternativas de aproximação entre arte contemporânea e o público. Para tanto, ir-se-á relatar três propostas, tomando-as como foco das relações pressupostas que se estabeleceriam entre seus interlocutores e a arte do nosso tempo. Além disso, propõe-se formar paralelos entre os conceitos relacionados aos processos educacionais pretendidos nestas exposições de arte, como também as novas interações que ora se estabelecem entre público, trabalho artístico e espaço de arte e suas respectivas inter-relações. Assim, as possibilidades de interlocuções entre o público enunciatário e os enunciadores das exposições serão importantes referenciais para a análise. Por fim, é importante considerar, como um dos objetivos desta investigação, o destaque dos aspectos relevantes nos casos analisados, específicos ou comuns, que sejam passíveis de contribuição para propostas futuras de ação educacional em espaços expositivos destinados à arte contemporânea

Essa dissertação tem como objetivo principal identificar os mecanismos envolvidos na inserção da fotografia documental em museus de arte, durante a década de 1970, na cidade de São Paulo. São apresentados três estudos de caso sobre exposições fotográficas, de caráter temático, realizadas nesse período: A família Brasileira, realizada no Museu de Arte de São Paulo, em 1971; Xingu/Terra, parte integrante da 13ª Bienal Internacional de São Paulo, em 1975; e Bom retiro e luz: um roteiro, na Pinacoteca do Estado de São Paulo, em 1976. A análise dos formatos das mostras e dos processos envolvidos em sua realização revelam dissonâncias e consonâncias entre os objetivos e interesses de seus proponentes e/ou realizadores. As exposições também são investigadas do ponto de vista das relações políticas da época, pois há a intenção de identificar as funções sociais adquiridas pela fotografia em seu processo de institucionalização. / This dissertation aims to identify the main mechanisms involved in the inclusion of documentary photography in art museums during the 1970s, in São Paulo. It presents three case studies about thematic and essay format photo exhibitions, accomplished at this period: A família brasileira, held at the Museu de Arte de Sao Paulo, in 1971; Xingu/Terra, part of the 13th Bienal International São Paulo, in 1975, and Bom retiro e luz: um roteiro in the Pinacoteca do Estado de Sao Paulo, in 1976. The analysis about the exhibitions formats and processes involved in their realization reveals dissonances and consonances between the purposes and interests of their proponents and/or directors. The exhibitions are also investigated from the standpoint of political relations of the time, because the intention is to identify the social functions of photography acquired in the process of its institutionalization.

Link to dataset: https://doi.org/10.25399/UnisaData.14152106.v1 / The work of Bruce Nauman can be understood as an enquiry into the absurd. His work is a critique of art, the artist and society, and is in part viewed as a mediation of stereotypical ‘truth’. The absurd is defined and analysed to elucidate the nature of art and human behaviour by means of literary comparison, in particular of Camus, Sartre and Wittgenstein. This research focusses on Nauman’s subversive performance- based work and analyses how he simulates a particular work of Duchamp. I propose that Nauman espouses human activity into the functionality of objects, such as fountains. My artworks expand on Nauman’s interrogation of the concept of a ‘true artist’ by embodying an absurd fountain as a Sisyphean construct. In contextualising my work in relation to incessant duty, insecurity and double negatives, I offer a regenerative vigour against idolisation of success through contemplation of the artist’s doubt and the absurd. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

This thesis is about two Swedish artists named Julia Beck (1852–1935) and Maj Bring (1880–1971). The idea was to see what kind of differences there were between these two Swedish female artists. They both studied at the Swedish Art academy and both had very successful careers, though they belong to different generations of artist. The first question to be answered, was is if you could see any similarities or differences in their education and career. The other question in this thesis was how the female art was perceived during the different art exhibitions which Julia Beck or Maj Bring participated in. Could you see if the art were perceived and judged differently due to, they being female artist? And could you see if there were any kind of resistance towards them as artists or towards their art and if so, how did it express itself? To answer that question the analysis is based on art exhibit reviews with a theory based on a gender perspective and of Linda Nochlins essay Why have there been no great women artists? This to help with looking after what kind of social barriers or resistance is visible in these art critics reviews.                                                                  The results of the biographical comparison showed many similarities and some differences. Such as them both studying in Paris after their education in the Swedish Art academy and both frequently traveled back and forth to stay in France for as long as possible. Eventually Julia Beck moved to France and stayed there until her death. While Maj Bring lived her entire life in Sweden and started an art school in Stockholm and paused her artist career for a while. Meanwhile Julia Beck dedicated her entire life to her artistic career. In the results of the analysis, you could clearly see several kinds of resistance to both the female art and the female artists. They were very much treated differently than their male colleagues. For example, in Paris there were specific places where the female artists showed their art. The critique reviews often explained the female art with female qualities and said that female artist had specific characteristics that made them more qualified in specific areas that was thought women belonged too.

The subject matter of the Master's Thesis deals with the design of the Brno University of Technology (BUT) compound on Kraví hora and comes as a follow-up to the work done in the previous academic term. The aim was to combine the interests of the city of Brno and that of the Brno University of Technology (BUT); to create a common zone which would incorporate attractive park areas for the general public and a representational space for the promotion of BUT and other activities that the university has been lacking to date. The primary objective was to make the compound more accessible to the public as there are currently community gardens which stand as a barrier. The entire BUT compound is thus integrated with the neighbourhood, providing numerous public areas that are ideal for relaxation and leisure activities where people may enjoy their free time. The new buildings will offer visitors an introduction to the history and current state of the University of Technology, mainly via exhibitions and entertainment. The faculty buildings, designed as a recruitment centre and used to present student work, will perform additional functions. The current facilities will be utilized as areas for graduates in creative disciplines who will be able to rent their first art studios there. The new buildings are set in the terrain so as not to disrupt the natural aspect of the park, seamlessly blending into the surrounding landscape. Another interesting feature is an observation tower, designed to further utilize the location's potential and provide visitors with a wide view of the area, far into its surroundings.

The main goal of my work was find and define a form of content for potential reconstruction of the castle Rudolfov. The purpose was a make this castle a good place for serving to city. This thesis is a last from analyzes and proposals for dealing with the city Rudolfov and its public space, which I developed in the whole masters degree: City - Vision for the Future. My work has been divided into four semesters. In first one, i have made a detailed analysis of the city Rudolfov and identifying the problem areas and main city problems, which I also discussed. In the second semester the work was focused on new study for new city center. In the third semester, I continued working on urban development studies of the northern slope with relation to the newly created center. For the thesis I chose the troubled and valuable place of the city with a cultural monument that formerly served as barracks and today it is looking for a new use. All studies were designed to contribute positively to the future development of the town Rudolfov.