- 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.
Search results
Showing 121 to 128 of 128 (0.029 seconds)Spelling suggestions: "subject:"huberman.""
| 121 |
Serialisme in Hubert du Plessis se Drie Stukke vir Fluit en Klavier, opus 25 (Afrikaans)Botes, Johan Andries Prinsloo 15 September 2008 (has links)
In this mini-dissertation the writer analyzed Hubert du Plessis’ Drie Stukke vir Fluit en Klavier, opus 25. He researched why Du Plessis uses three shorter series of different lengths. The relationship between the series in this work was researched, as well as the characteristic applications of the series. It was found that Du Plessis uses shorter series of different lengths as his compositional tool, because they are manageable and can be manipulated for any specific requirement or need. With fewer notes in a series, if chromatic notes are avoided, the music will lean itself to an impression of tonality. It is interesting for the researcher how the feeling of tonality was portrayed through the use of different series and hence the given dissertation was researched. In true atonal music, composers usually disregard third and halftone intervals. Yet, tritones are often used in atonal music. In retrospect, Du Plessis uses more third and halftone intervals than tritones. There is only one tritone in this work (found in the second series), as opposed to the use of third and halftone intervals throughout all three series. The feeling of tonality is further enhanced through fragments of the series that one can place in a specific key. With this in mind, it is evident to get the impression of tonality as a result of fragmentation from the series. Another aspect of tonality that cannot be ignored was the composer’s use of bitonality. The serial techniques that Du Plessis used, was also researched. It was found that Du Plessis did not make use of any new innovations. All these techniques were already used by composers like Schoenberg, Berg, Webern and Dallapiccola. The most important techniques that Du Plessis used, were: <ul> <li>The use of all the forms of the series and their transpositions</li> <li>Overlapping series (that is when the last note of the series, becomes the first note of the next series)</li> <li>Combination of series (superimposition)</li> <li>The dividing of series between the instruments</li> <li>The repetition of notes in a series before all the notes have been used</li> <Li>Sometimes notes are put in a different order, thereby losing the correct order of the series.</li></ul> / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted
|
| 122 |
Památková obnova Bratmannovy vily - Valašské Klobouky / The monument restoration Bratmann villas - Valašské KloboukyZámečník, Marek January 2016 (has links)
The Master's thesis comes with an idea of general renovation of the building and its surroundings of Elementary art school in Valašské Klobouky. To expand the insufficient and inappropriate space, the new building will be added to present monumental art nouveau Bratmann's villa which will be completely restored to its former appearance from year 1896. The thesis contains widespread analytic part aimed on theoretical preparation for restoration. The plan was to create harmonious changeover between the old building used for musical education and the new building used for the rest of the art education.
|
| 123 |
De l'autre côté des mots : poétique des paroles muettes et politique contrariée dans la littérature québécoise : (Gauvreau, Miron, Aquin)Jalbert, Eve Martin 16 April 2018 (has links)
La présente thèse traite des manières singulières dont certaines oeuvres littéraires québécoises, marquées à des degrés divers par l'horizon de l'émancipation, disposent de la possibilité que les êtres humains puissent eux-mêmes s'affranchir des conditions de leur assujettissement et de leur domination. Elle emprunte pour cela à la philosophie de Jacques Rancière sa manière de penser les rapports entre littérature et politique et de lire les productions de l'art d'écrire comme des individualités inscrites dans le régime esthétique de la littérature, ce système de possibles défini par la contradiction entre le principe d'un langage nécessaire et celui de la contingence des mots. La cohabitation contradictoire de ces principes comprend des enjeux politiques dans la mesure où s'y rejoue la vieille guerre, remontant à Platon, contre cela même dont procèdent ces oeuvres et qui rend possibles à la fois la littérature, la politique et l'émancipation : le régime de la lettre ou de la contingence du langage, grâce auquel les mots, disponibles pour tout usage et pour tout locuteur, peuvent saisir les choses sous de nouveaux rapports. Les poétiques de Claude Gauvreau, de Gaston Miron et d'Hubert Aquin sont lues ici comme autant de dispositifs esthétiques construits sur la possibilité d'échapper, au moyen de la production de mots qui seraient plus que des mots, à la contingence de la lettre dont elles exploitent pourtant les pouvoirs. Ces dispositifs présentent des reconfigurations polémiques du sensible où seraient réconciliés les pôles opposés de l'homme, où les mots se prolongeraient en dehors d'eux-mêmes dans une existence repoétisée et dans une communauté du sentir partagé, mais où s'aboliraient le coeur même de la politique et la possibilité de l'émancipation. Leur politique est une politique contrariée.
|
| 124 |
„Belle comme Vénus‟ : das portrait historié zwischen Grand Siècle und Zeitalter der Aufklärung / "Belle comme Vénus" : le portrait historié entre Grand Siècle et Lumières / "Belle comme Vénus" : the portrait historié between Grand Siècle and EnlightenmentSchneider, Marlen 01 June 2015 (has links)
Très apprécié et répandu pendant la deuxième moitié du XVIIe siècle et les premières décennies du XVIIIe, le portrait historié fut un phénomène caractéristique de la société de cour, révélateur des pratiques artistiques et culturelles de ce milieu. Partout en Europe et surtout en France, l’élite sociale se faisait peindre en costume de fantaisie mythologique ou historique par des peintres célèbres tels que Nicolas de Largillierre, Pierre Gobert, François de Troy, Jean-Marc Nattier ou Jean Raoux. Figurant encore parmi les desiderata de l’histoire de l’art, l’étude scientifique exhaustive du portrait historié peut toutefois contribuer à la recherche sur le portrait français de l’Ancien Régime en général. Afin de définir la place particulière qui prenait ce type de portrait dans le monde artistique, culturel et sociale de l’époque, nous avons établi une historiographie qui tient compte 1) des innovations iconographiques et formelles du genre, 2) des rapports culturels changeants de ces portraits, 3) de leurs fonctions sociales, et 4) des réactions du public et de la critique d’art à partir du milieu du XVIIIe siècle. Face au discours des Lumières et avec la crise de la monarchie absolutiste en France, ses expressions culturelles et artistiques perdirent leur légitimation, et notamment le portrait historié, étroitement lié aux principes mêmes et aux convictions de la société de cour. / The portrait historié was one of the most characteristic and revealing phenomena of French court society, closely relying on this particular milieu’s artistic and cultural practices, and was thus very much appreciated during the second half of the seventeenth century and the first decades of the eighteenth century. Members of the social elites all over Europe and especially in France chose to sit in mythological or historicized costumes for renowned artists such as Nicolas de Largillierre, Pierre Gobert, François de Troy, Jean-Marc Nattier or Jean Raoux. An extensive study of this particular kind of portraiture, which is still one of the desiderata in art historical research, might generally contribute to scientific research on French portraits from the Ancien Régime. In order to define the artistic, cultural and social impact and status of portraits historiés, the thesis examines the institutional, iconographic and formal evolution of the genre, its cultural context and influences, its social functions, as well as its reception in 18th century public sphere and especially in the context of enlightened discourse. Resulting from the moral and esthetic principles of court society, these cultural and artistic expressions derived from the absolutist French monarchy lost their legitimation during a period of political and social change and revolution.
|
| 125 |
Fabians and 'Fabianism' : a cultural history, 1884-1914Downing, Phoebe C. January 2014 (has links)
This thesis is a cultural history of the early Fabian Society, focusing on the decades between 1884, the Society’s inaugural year, and 1914. The canonical view is that ‘Fabianism,’ which the Oxford English Dictionary defines as the ‘doctrine and principles of the Fabian Society,’ is synonymous with State socialism and bureaucratic ‘efficiency.’ By bringing the methods of cultural history to bear on the Society’s founding members and decades, this thesis reveals that ‘Fabianism’ was in fact used as a dynamic metonymy, not a fixed doctrine, which signified a range of cultural, and even literary, meanings for British commentators in the 1890s and 1900s (Part 1). Further, by expanding the scope of traditional histories of the Fabian Society, which conventionally operate within political and economic sub-fields and focus on the Society’s ‘official’ literature, to include a close examination of the broader discursive context in which ‘Fabianism’ came into being, this thesis sets out to recover the symbolic aspects of the Fabians’ efforts to negotiate what ‘Fabianism’ meant to the English reading public. The Fabians’ conspicuous leadership in the modern education debates and the liberal fight for a ‘free stage,’ and their solidarity with the international political émigrés living in London at the turn of the twentieth century all contribute to this revised perspective on who the founding Fabians were, what they saw themselves as trying to achieve, and where the Fabian Society belonged—and was perceived to belong—in relation to British politics, culture, and society (Part 2). The original contribution of this thesis is the argument that the Fabians explicitly and implicitly evoked Matthew Arnold as a precursor in their efforts to articulate a kind of Fabian—latterly social-democratic—liberalism and a public vocation that balanced English liberties and the duty of the State to provide the ‘best’ for its citizens in education and in culture, as in politics.
|
| 126 |
Convergences aventureuses : L'Écho des années soixante-dix californiennes sur l'art européen des années quatre-vingt-dix et autres essais sur l'art contemporainFrédéric, Paul 27 November 2008 (has links) (PDF)
Le contexte artistique californien de la fin des années 60 et du début des années 70 constitue un terrain favorable aux investigations d'une nouvelle génération d'artistes, même s'il ne bénéficie pas de réels soutiens logistiques marchands ou institutionnels. L'art conceptuel promu à la même époque par Seth Siegelaub à New York prépare une alternative à l'art minimal. Ce phénomène a déjà son équivalent en Europe. La dématérialisation de l'oeuvre d'art aura des conséquences décisives en Californie, où elle donnera naissance à un art conceptuel dénué de tout dogmatisme marqué par l'influence de fortes personnalités comme Edward Ruscha et John Baldessari. Des artistes originaires de la côté est comme Douglas Huebler, William Wegman, Robert Cumming, du Midwest comme Ruppersberg trouveront de l'autre côté des États-Unis des conditions de travail plus stimulantes. Des Européens comme Bas Jan Ader ou son complice Ger van Elk suivront le même chemin. Leurs oeuvres ne trouveront pas immédiatement sur place une grande visibilité. Mais après une éclipse d'une quinzaine d'années, voici qu'une nouvelle génération d'artistes européens (citons des artistes comme Claude Closky, en France, ou Jonathan Monk, en Angleterre) se penche sur ces grand frères et les place au premier rang de leurs références. À partir d'exemples sélectionnés d'artistes et d'un corpus de textes constitué depuis le début des années 90, que j'ai écrits pour différents catalogues d'expositions, revues, éditeurs, l'objet de cette thèse est de présenter ce dialogue entre les générations et de mettre en évidence certaines convergences malgré la dissemblance des contextes institutionnels et sociétaux.
|
| 127 |
Hudební život a významné hudební události u pražských křižovníků s červenou hvězdou v 18. století ve světle listinných pramenů / Music life and important music events at Prague Order of the Cross with Red Star in the 18th century in paper-source backgroundVeverka, Karel January 2017 (has links)
This dissertation thesis is focused on music performance within the bounds of Order of the Cross with Red Star in the 18th century. The history of the Knight's Order rises from the first half of the 13th century and concerns the only original Czech church order. In the 18th century Knights of the Cross belonged to the most significant patrons of Art in Czech lands. Church and monastery of St. František in Prague, the center of the Order, became the most influential culture center. The charity work of the Order of that time influenced the creation of the extraordinary institution - the Order's menza that had the significant importance for operating of organ lofts of St. František Church because it provided the sufficient amount of singers and musicians. The research is exclusively based on non-music materials deposited in the Cross paper fond (Nr.195) consigned in the 1st department of the National Archives in Prague. According the information of the inventory department, the fond contains altogether 2315 cartons of paper material and 3306 books. Until now, the researchers have been interested in these sources only marginally which was caused mostly by its disorderliness and most important discoveries have been realized mostly just by lucky coincidences. The main part of this work is devoted to St....
|
| 128 |
Det omättliga ögatLjung, Bo January 2020 (has links)
This is a master thesis dealing with reception-theoretical aspects of the 96 meter long photomontage called That day and that grief, created by the Swedish photographer and artist Larseric Vänerlöf. The artwork is situated in the Karlaplan metro-station in Stockholm. The text is an extension of the master thesis that I wrote in 2017-2018, entitled The Cinematic eye. This new essay aims to deepen the understanding of how the photomontage reveals it´s meaning and how it is received by the viewer in the metro context at Karlaplan. Main questions: 1/ What is it in this big photomontage, that makes the viewing travellers, wanting to stay and watch it, even though they are in a hurry towards another place, in another matter? 2/ How does this artwork speak to me and how does it want me to watch it? 3/ What does the photomontage want to tell me? 4/ What does the work represents? Since my study focuses on the imagery and communication-act of the artwork, I find semiotics and reception-theory as the obvious theoretical tools. Part of the interpretation of the image relates to the semiotics of Roland Barthes and his statement that all images are polysemic and ambiguous and that they are culturally and historically conditioned. In my conclusion I discuss and to some extent challenge the mechanism and interaction between literal, denoting information and symbolic connotation in the viewer’s reception. The reception analysis is based on Wofgang Kemps conceptual apparatus formulated in The work of Art and its Beholder (1998), and Peter Gillgrens concept of interartial references. Hans Georg Gadamers view of art as a performative game complements the essays theoretical construction. I use a deductive and systematic interpretive working method. Based on the chosen semiotic and reception theoretical formation and through my questions, I have studied the phenomenology of the photomontage, i.e. as an artistic and linguistic phenomenon. Empathy in site/location, beholder and zeitgeist form the basis of the methodological work.The conclusions of the thesis are radically different from that of my former text from 2017-18. Imagery and symbolic ambiguities and focalics that refuse to reveal the "meaning" and content of the photomontage, activate the viewer in a performative way and creates a highly communicative work, which involves the viewer in the theatrical course. Through a deeper study of the “zeitgeist”, I have also concluded that the collective and political symbols from the 1970s in the work, have lost power and content at the time of the dismantling in 1982. The character that I previously perceived as "Art as weapon" has in this essay been transformed to "Art as visuality". The art of photography appears as the real subject matter for the photomontage at Karlaplan subwaystation.
|
Page generated in 0.0357 seconds