Thesis advisor: Robert J. Savage / This dissertation compares that state-sponsored tactic of criminalization implemented against both the Black community of Brixton and the republican community of Belfast throughout the 1970s, arguing that both minority groups were criminalized in an attempt to end the ‘crisis of hegemony’ faced by the British government during the post-war decline of empire. While this process of criminalization was implemented via different legislative methods and with different ideologies, racial in Brixton and ethno-sectarian in Belfast, the government used these negative ideologies to create a specific narrative that supported the implementation of discriminatory policing policies against these marginalized groups. Both the Black and republican communities fought against this narrative of criminalization, instead highlighting parallel counter-narratives which contended that discriminatory governing and over-policing were negative symptoms of Britain’s enduring colonial legacy and a detriment to the minority populations of the United Kingdom. Tensions between the state-sponsored police and these marginalized communities exploded in 1981 with the uprising in Brixton and the hunger strike in Belfast. Members of both minority communities viewed these events as attempts to combat state discriminatory policies, but the British government viewed these violent events as proof of the criminality of these minority groups. Examining the creation and use of community murals in both Brixton and Belfast after 1981, this dissertation argues that murals became a less violent, but no less visible tool to combat the narrative of criminalization. As a type of artwork specifically designed for marginalized communities to challenge spatial and visual hegemony, community murals in these locations created large public canvases with which disenfranchised citizens could display their own visual representation – a representation to offset the negative imagery being portrayed by the British government and mainstream media. Minority groups in both Great Britain and Northern Ireland used these community artworks as subversive tools to positively display their marginalized cultures and their counter-narrative of discriminatory policies throughout the 1980s. While created via different artistic and collaborative methods, community murals in Brixton and Belfast became a tool used by both minority groups to combat the negative impacts of the shared criminalization that stemmed from a mutual colonial history. / Thesis (PhD) — Boston College, 2023. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: History.

No description available.

Vol. 2. consists of 64 leaves of mounted photographs / Plate 1 is Plan of I 11, 6-7, by Barry Rowney of Dept. of Architecture, University of Adelaide / Bibliography: leaves 276-291 / 2 v. (291 leaves, [64] leaves of plates) : ill., plan ; 31 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Classics, 1989?

Thesis (Ph. D.)--University of Wisconsin, 1964. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record.

Thesis (doctoral)--Universität Basel. / Description based on print version record.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research deals with the Public Art in Santa Maria / RS, with the main object of study Eduardo Kobra‟s mural accomplished in the Municipal Library of that city. The authors that help me to articulate and combine with the Public Art are Arend (2010); Alves (2011), Peixoto (2009, 2012) and Silva (2005), for the artist's contextualization in interaction with his work and the public, and theirs among themselves, considering the policies of articulation among artist, space, work, public and promoters of art. The urban public of the city of Santa Maria is analyzed on the view of works installation in these areas, and the influence of the Course of Arts and Letters of the Federal Uni-versity of Santa Maria, since 1964, having as basis the works of Foletto (2008) and Foletto and Bisoning (2001). Taking as its central point the artist Eduardo Kobra‟s work, his research and involvement with Public Art, I contextualize about the influ-ences that reverberate in his artistic production, articulating his productions with other artists who had / have connection with his research, and influence of graffiti and hip hop in his career. The photograph and the memory are treated as proposers of pos-sibilities and reflections on the current context and in the art, based on Bergson (2011), Catroga (2009) and Richoeur (2007). Considering the different looks, from interviews with groups of local artists and a representative of the government, the main instigator and deliberator of the art in the city, you can see the relevance of Kobra‟s work in the city to contemplate on the art scene on the conflict between the visual arts and the performance of the government. That has conditioned positions and oppositions in relation to the field of art and art in the city, where the public as an extra in the artistic field of Public Art in the city. / A presente pesquisa trata da Arte Pública em Santa Maria/RS, tendo como objeto principal de estudo o mural de Eduardo Kobra realizado na Biblioteca Municipal da referida cidade. Os autores que me ajudam a articular e conjugar com a Arte Públi-ca, são Arend (2010); Alves (2011), Peixoto (2009; 2012) e Silva (2005), para a con-textualização do artista em interação com a obra e o público, e destes entre si, con-siderando as políticas de articulação entre artista, espaço, obra, público e fomenta-dores da arte. O espaço urbano, público da cidade de Santa Maria é analisado sobre o viéz da instalação de obras nestes espaços, e da influência do Curso de Artes e Letras da Universidade Federal de Santa Maria, a partir de 1964, tendo como bases as obras de Foletto (2008) e Foletto e Bisoning (2001). Tomando como ponto central a obra do artista Eduardo Kobra, suas pesquisas e envolvimento com a Arte Pública, constextualizo acerca das influências que reverberaram em sua produção artística, articulando suas produções com as de outros artistas que tiveram/têm ligação com suas pesquisas, e da influência do grafite e do hip hop em sua carreira. A fotografia e a memória são tratadas como propositoras de possibilidades e reflexões no con-texto atual e na arte, embasadas em Bergson (2011), Catroga (2009) e Richoeur (2007). Considerando os diferentes olhares, a partir de entrevistas com os grupos de artistas locais e de um representante do poder público, o principal fomentador e deli-berador da arte na cidade, é possível perceber a relevância da obra de Kobra para refletir sobre o panorama artístico local diante do embate entre as artes visuais e a atuação do poder público. Que tem condicionado posições e contraposições em re-lação ao campo da arte e da Arte Pública eUrbana na cidade, onde o público é con-siderado como um figurante no campo artístico da Arte Pública na cidade.

Made available in DSpace on 2014-12-17T13:57:06Z (GMT). No. of bitstreams: 1 IsaiasSR_DISSERT.pdf: 2641861 bytes, checksum: 11dc543c4a539e8fee9c04f5d5b0a4ab (MD5) Previous issue date: 2011-04-11 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This research aims to study wall paitings created by artists Newton Navarro and Dorian Gray, installed in public buildings of modern architecture, in Natal/RN from 1950 to 1970. The subject is seen by focusing on its concepts and characterization, linked to the ideia of integration of the arts and the meaning of modern mural painting in Brasil. The study presents an analyses of those paitings considering themes, techiniques and dimensions, comparing the solutions of local artists with brasilian muralist painters, particularly the work of C?ndido Portinari. Registers of artistic works show a view of the inclusion of arts in modern architecture in the city / Esta pesquisa tem como objetivo estudar a arte parietal produzida pelos artistas potiguares Newton Navarro Bilro e Dorian Gray Caldas, instalada em edif?cios p?blicos de arquitetura moderna, na cidade de Natal, no per?odo dos anos 1950 a 1970. Neste estudo, o tema da pintura mural ? compreendido atrav?s da sua conceitua??o e caracteriza??o, vinculadas ? id?ia de integra??o das artes e ao entendimento do mural moderno no Brasil. O estudo apresenta uma an?lise do mural moderno natalense considerando os temas, t?cnicas e dimens?es, cotejando as solu??es dos artistas locais com a produ??o mural?stica brasileira, em especial a obra mural do artista C?ndido Portinari. Apresenta tamb?m um registro de obras art?sticas delineando um panorama da inser??o da arte na arquitetura moderna na cidade

Denna uppsats handlar om hur digitala verktyg praktiskt kan implementeras under skrivprocessen vid undervisning av hur man skriver en argumenterande text. Vidare har studien även som avsikt att ta reda på elevernas åsikter kring att använda digitala verktyg under skrivprocessen. För att uppnå detta syfte genomfördes en designbaserad aktionsstudie som bestod av en intervention där en lektionsserie på sju lektioner observerades samt efterföljande fokusgruppsintervjuer med de 14 deltagande eleverna. De digitala verktyg som interventionen ämnade att testa var Mural, PowerPoint och ChatGPT. Resultatet utifrån observationen av interventionen och intervjuerna tyder på att digitala verktyg kan användas som stöd under skrivprocessen men att eleverna behöver mer övning, mer tid och tydligare instruktioner. Detta gäller framförallt vid användandet av digitala verktyg som är nya för eleverna. Även tekniska strul är något som studiens resultat visar är något som lärare bör ha i åtanke vid användning av digitala verktyg vid processorienterad skrivundervisning. Överlag indikerar resultatet av studien att lärare bör inkludera digitala verktyg vid processorienterad skrivundervisning men att mer tid och kunskap krävs för att kunna implementera dem på bästa sätt. / This essay is about how digital tools practically can be implemented during the writing process when teaching how to write argumentative texts. Furthermore, the study also has the intention to find out the students’ opinions about using digital tools during the writing process. In order to achieve this aim a design based action research study, that consisted of an intervention where seven lessons was observed and follow up focus group interviews with the 14 participating students, was conducted. The digitals tools that the intervention aimed to test were Mural, PowerPoint and ChatGPT. The results based on the observation of the intervention and the interviews indicate that digital tools can be used as support during the writing process, but that the students need more practice, more time and clearer instructions. This especially applies when digital tools that are new to the students are being used. Technical issues are also something that the result of this study shows is something that teachers should keep in mind when using digital tools to teach writing. Overall, the study’s result indicates that teachers should include digital tools when teaching writing in a process-oriented manner but that more time and knowledge is needed to implement them in the best way.

This dissertation examines the practice of embedding devotional objects, such as relics and painted panels, into mural images in Italy between the eleventh and fourteenth centuries. Examples can be found as far south as Amalfi, and as far north as Lombardy, and in a variety of ecclesiastical institutions, ranging from urban cathedrals, remote hermitages, and influential monastic centers. Yet despite its widespread application—found even in the Arena Chapel in Padua—the practice has never been systematically studied. Older studies of the sites taken up in this dissertation generally omit mention of their embedded objects altogether, either because the objects were seen as incidental to the larger image in which they were set, or because their inclusion did not follow certain post-medieval parameters of artistic progress. The works of this study elide traditional divisions within the study of medieval art, traversing the categories of icon and narrative, portable and monumental, and “image” and “art.” This study contends that medieval image-makers engaged the aesthetic and symbolic potential of mixing diverse media. The introduction gives an analysis of the notions of “medium” and “mixture” in the Middle Ages in order to elaborate the heuristic concepts that drive the ensuing chapters. Chapters 1-3 each examine a specific type of embedded object, and consider the various modes of combination exhibited therein. Chapter 1, “Assimilation,” examines relics that were embedded within mural images, and focuses on the apse mosaic of San Clemente in Rome, ca. 1120. Chapter 2, “Fragmentation,” analyzes the insertion of circular wooden panels in murals, and centers on the apse fresco of Santa Restituta in Naples, ca. 1175. Chapter 3, “Mediation,” considers the rectangular panel of God in the Arena Chapel in Padua, produced by Giotto between 1303 and 1305. To recuperate the intermedial practice of embedding objects in mural images, I examine the technical and aesthetic features of mixed media murals in relation to coeval understandings of mixture, media, and mediation. It was a practice that involved an understanding of the mural image not just as a flat surface for pictorial elaboration, but as a physical and spatial entity that could be manipulated and thematized within the image itself. By incorporating relic or panel into a mosaic or frescoed mural, medieval image-makers nested objects traditionally viewed as portable and venerable, into one understood as fixed and site-specific. This maneuver gave the mural a stratified quality of assemblage, producing registers of difference and ambiguity between container and contained, image and object, surface and depth. Throughout the dissertation, I explore these dialectics, demonstrating how and to what ends embedded objects establish difference, only to transcend it. The ambivalent understandings of mixture in the twelfth and thirteenth centuries—sometimes a hybrid, at other times, a metamorphosis— inform my analysis of the mixed representational systems of this study. The period may be characterized by a growing intellectual interest in the observation and manipulation of physical substances, the study of which was seen to reveal the connective fabric of God’s cosmic order. The works studied here participate in this broader attention to the processes of the natural world. I therefore consider how medial combinations were seen to signal analogous behavior in the mixtures discussed by theologians, natural philosophers, and artists. Attending to both the constituent parts and the symbolic value of their combination, I show how the act of embedding worked by analogy to figure the theological processes of assimilation, fragmentation, and mediation.

The study of ancient Egyptian monumental art is based on subjective and qualitative analyses by art historians and Egyptologists who use the change in stylistic trends as Dynastic chronological markers. The art of the ancient Egyptians is recognized the world over due to its specific and consistent style that lasted the whole of Dynastic Egypt. This artwork exhibits fractal qualities that support the applicability of applying fractal analysis as a quantitative and statistical tool to be used in this field. In this thesis, I show the fractality of ancient Egyptian monumental art by analyzing black and white line drawings of twenty-eight spearate bas-reliefs with three separate programs : Benoit 1.3, ImageJ, and Fractal3e. After preparing the images with GIMP2 software - used to remove non-original lines - I analyzed each image using the fractal box-counting analysis function in the above programs and calculated their fractal dimension, D. The resulting fractal dimension supported the consistency visually identified in the artwork from ancient Egypt, both chronologically and geographically. / by Jessica Robkin. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.