Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1995. / Includes bibliographical references (p. 292-294) and index.

No description available.

No description available.

Diss. Uppsala : Uppsala universitet, 2007.

No description available.

Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1995. / Includes bibliographical references (p. 292-294) and index.

This study analyzes select visual art projects created between 2016 and 2023 in relation to the Centennial Commemoration of Transfer Day in Denmark. The focus will be three public sculpture projects erected during this time: Danish artist John Kørner’s 2016 public commission of Victor Cornelins for the city of Nakskov; the U.S. Virgin Islands 2017 person-to-person gift to Denmark consisting of Ghanaian artist Bright Bimpong’s casted busts of General Buddhoe, David Hamilton Jackson and Freedom; and St. Croix artist La Vaughn Belle and Afro-Danish Artist Jeannette Ehlers 2018 collaborative artist-led sculpture project I Am Queen Mary. They represent the first public sculptures dedicated to people of African descent in Denmark. Utilizing Agency Reduction Formation, Black Cultural Mythology and the Nzuri Model as theoretical frameworks, this study asks the following questions: 1) How is Danish colonization of the Virgin Islands commemorated through public sculpture? 2) How do commemorative practices engage with Virgin Islands culture and traditions? 3) If and how do commemorative practices challenge or uphold colonial perspectives and epistemes? This study will utilize iconographic analysis, document and archival research, informal interviews and field research throughout Denmark and the Virgin Islands to compare commemoration practices and how they contribute to empowering Afro-Danish and Caribbean people. Since these sculpture projects are relatively new topics of study, this research project will be exploratory in nature to identify potential patterns and ideas. The time-period of focus for data collection will between 2016 and 2023 to coincide with related projects in development leading up to Centennial, and projects developing after the Centennial. 2023 reflects the U.S. Virgin Islands 175 anniversary of Emancipation. I argue these projects navigated various articulations of resistance yet made a significant social and institutional impact on Denmark’s cultural landscape, while further expanding the canon of artistic practices from the U.S. Virgin Islands. It is my aim that this dissertation contributes to developing, identifying, and evaluating conceptual tools, within the discipline of Black Studies, that artists and scholars can use to further create representational agency for people of African descent wherever they are in the world. / Africology and African American Studies

Orientador: Cristina Meneguello / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T14:20:04Z (GMT). No. of bitstreams: 1 Uhle_AnaRita_D.pdf: 63497212 bytes, checksum: dc6c983c8e0ed7f1fa84f870912a25e3 (MD5) Previous issue date: 2013 / Resumo: Este estudo versa sobre os processos que envolvem a idealização e construção de monumentos celebrativos na cidade de São Paulo ao longo do século XX. São analisadas quatro obras cujas narrativas tratam de episódios da história colonial paulista: o Monumento à Glória Imortal dos Fundadores de São Paulo, o Monumento às Bandeiras, o Monumento à Fundação de São Paulo e o Monumento a Anchieta. Por meio de um conjunto de documentos produzidos nos concursos públicos, em debates na imprensa, trocas de correspondências e memórias, busco compreender como essas obras foram fabricadas, desde o surgimento da idéia até as estratégias para sua viabilização, levando em conta os diversos conflitos nos momentos de definição do tema, da concepção formal ou da versão escolhida sobre o episódio comemorado. Havia uma pluralidade de interesses que operava na realização desses projetos de monumentos: do escultor, do conselheiro iconográfico, de agentes do poder público, de jornalistas ou de historiadores. A proposta dessa tese é a de construir uma história social dos monumentos celebrativos, do diálogo e das trocas que aconteciam ao longo de sua construção, ao perceber os personagens e analisar as obras como frutos de um processo intensamente negociado / Abstract: This study deals with the process involved in the idealization and construction of four celebration monuments at the city of São Paulo during the twentieth century, all related with episodes of the colonial history of São Paulo: the Monumento à Glória Imortal dos Fundadores de São Paulo, the Monumento às Bandeiras, the Monumento à Fundação de São Paulo and the Monumento a Anchieta. Through a set of documents produced either during the public contest, in press debates, correspondence exchanges or in memoirs, I seek to understand how these monuments were produced from the initial idea to the strategies for their development, taking into account the wide range conflicts such as the formal conception or the version of the celebrated episode. I found a wide range of distinct interests that guided the realization of monument's projects: the will of the sculptor, the government iconographic advisor, journalists or historians. The purpose of this thesis is to build a social history of the monuments celebration from the dialogue and exchanges that took place during its construction, to understand the characters and analyze the monument as result of an intensely negotiated process / Doutorado / Politica, Memoria e Cidade / Doutora em História

Orientador: Jorge Sidney Coli Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T18:58:16Z (GMT). No. of bitstreams: 1 Lopes_FannyTamisa_M.pdf: 12613948 bytes, checksum: 8648c42747874be58f17bd91a6e8acfa (MD5) Previous issue date: 2012 / Resumo: Tendo como ponto de partida a análise do Monumento a Carlos Gomes (1922), presente no Vale do Anhangabaú, e destacando a questão da cenografia como elemento chave para compreensão deste espaço e da própria concepção do citado conjunto monumental, este trabalho desdobrou-se num estudo acerca da obra do escultor italiano Luigi Brizzolara (Chiavari, 1868- 1937), o autor do monumento, cuja destacada atuação na cidade de São Paulo suscitou um justo interesse acerca deste pouco conhecido artista, mas também sobre o cenário geral que possibilitou ou motivou sua vinda ao Brasil / Abstract: Having as its starting point the Carlos Gomes Monument (1922) at the Vale do Anhangabaú (São Paulo) and highlighting the cenography issue as a key element to the understanding of this space and even of the monumental set itself, this work consists of a study about the italian sculptor Luigi Brizzolara (Chivari, 1868 - 1937), responsible for making the monument. His important performance in the city of São Paulo has produced not only a keen interest about this little known artist but also about the overall picture that made it possible and prompted him to come to Brazil / Mestrado / Historia da Arte / Mestra em História

Studiens syfte var att uppmärksamma den svenska konstnären Elli Hemberg. Som ett exempel på ett av konstnärens offentligt placerade verk, analyserades och tolkades skulpturen Tre löv (1974) med ikonografisk/ikonologisk teori och metod. Analysen inspirerades även av semiotisk och receptionsestetisk teori och metod. Konstnären gestaltade en skulptur i rostfritt stål föreställande tre löv. Genom att använda ett klart och enhetligt formspråk skapade konstnären balans och harmoni, men även liv och rörelse i skulpturen. Skulpturens inre mening tolkades som samtida kritik av modernismens konstutveckling. Olika slags kontexter kan ha avgörande betydelse för betraktarens tolkning av verket. / The aim of the study was to draw attention to the Swedish artist Elli Hemberg. As an example of one of the artist´s publicly placed works, the sculpture Three Leaves (1974) was analyzed and interpreted using iconographic/iconological theory and method. The analysis was also inspired using semiotic and reception aesthetic theory and method. The artist created a stainless steel sculpture representing three leaves. By using a clear and uniform design language, the artist created balance and harmony, but also life and movement in the sculpture. The inner meaning of the sculpture was interpreted as contemporary criticism of the development of art during the modern era. Different kinds of contexts can be decisive for the viewer´s interpretation of the sculpture.