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This study examines the complex interplay between textuality and bodily performance by tracing their development within these two novels. Both texts are fundamentally concerned with the body and its interaction with a dominant culture. Often, the corporeal frame is posited as a physical text in which the social mores, cultural ideologies, and historical framework of a character's society are expressed through the bodies of its citizenry. However, both protagonists struggle to achieve an autonomous subject position outside the realm of the dominant culture, with varying degrees of success. At the end of Midnight's Children, Rushdie subverts the body's position as authoritative text by aligning the voice of record with textual production. Conversely, DeLillo's protagonist refutes the ability of linguistic representation to adequately convey her pathos, and instead utilizes her body art as the most effective means of communicating the atmosphere of alienation and fear which characterizes the twentieth and twenty-first centuries. / Department of English

Many artist-teachers struggle to nurture and pursue their ambitions in their dual roles. The purpose of this research is to explore the nature of the professional practices of artist-teachers. While there is a substantial amount of research that provides models of artist-teachers, who teach at the post secondary levels, there are not many models for artist-teachers who teach primary and secondary age groups. Four artist-teachers, whose practices are currently contributing to the art world, as well as the educational world, were interviewed for a multiple case study. The roles represented in the study include painters, sculptors, a ceramist, a musician, a performance artist, art teachers, a music teacher, and a performance-art educator. This multiple case study provides four models of artist-teachers whose professional practices contribute to their identity and fulfillment in their dual roles. The study reveals the artist-teacher’s practice as an artist, practice as a teacher and relationship between the dual roles.

Denna kandidatuppsats avhandlar hur manliga respektive kvinnliga artistgrupper bygger upp sina varumärken på det sociala mediet Instagram. Vi har tittat närmare på hur två artistgrupper kommunicerar genom de bilder som har postats på deras Instagram-konto. De två artistgrupper vi har undersökt är svenska Nause samt Rebecca & Fiona. Uppsatsen undersöker om och hur traditionella könsroller reproduceras i nya medier samt hur man som artist kan bygga upp sitt varumärke genom Instagram.     Teoretisk utgångspunkt som används för undersökningen är marknadskommunikation och varumärkesteori. Den vetenskapliga metod som har används för undersökningen är kvalitativ innehållsanalys med fokus på bildsemiotik.   Resultatet vi har fått fram i vår undersökning visar att könsroller reproduceras till viss del på Instagram samt att manliga och kvinnliga artister marknadsför sig och bygger upp sitt varumärke på olika sätt på Instagram. Detta är anmärkningsvärt, eftersom båda artistgrupperna har samma utgångsläge och förutsättningar.

This research explores culture-led regeneration; specifically, how and why small, community-based culture-led regeneration projects potentially affect their respective communities. Methodology is founded on an in-depth case study of The Edge Artist Village in Winnipeg, supported by a literature review, quantitative research examining property values, and archival research. The practicum shows that The Edge Artist Village has had a tremendous impact on the community of North Main Street. While various stakeholders interpreted The Edge‘s impact in different ways, perceptions of safety in the community have improved, and long vacant buildings in the neighbourhood are finding new tenants. This study makes recommendations as to how planners can potentially play a role in encouraging culture-led regeneration projects such as The Edge Artist Village, and suggests ways in which private developers and municipal government can collaborate more effectively to support their communities.

In the knowledge economy, the 'creative industries' are recognised as a new paradigm. They are industries which use creativity as an intangible asset to generate wealth. The creative industries are described as 'evolving' and their outcomes frequently categorised as 'intangibles'. The thesis outlines what I term a creative industries approach to the engagement of visual artists with industry. The artist-in-industry program, a component of New Possibilities for Paper, was established with an explicit brief to generate creative products and contained an implicit agenda to breed intellectual capital. It was conceived as a means of crossfertilising hitherto siloed sectors -- an arts environment with entrenched attitudes towards the subsidy, proprietorship and authority of creativity and the traditionally conservative paper industry. Establishing creative industries characteristics and indicators to describe and measure creative industries operation in this program required careful consideration, with the characteristics and indicators selected able to recognise trends or changes. The analysis of the seven partnerships confirmed that the artistin-industry program is a creative industries approach upon which future programs between visual artists and the paper industry could be constructed. The research found that the creative industries processes in most need of being addressed, if visual artists are to maximise their benefits, included an understanding and utilisation of intellectual property, knowledge of commercialisation processes and a positive attitude towards commercialisation. For paper companies that invest in R&D, there is recognition that potential tangible and intangible benefits can result from engaging in such partnerships. Additionally, a partnership in which the artist's role (or service) is focused on the industry's customers and contributes to employee knowledge was seen as being of greatest value to the paper industry.

This thesis is a selective history and critical analysis of collaborations and orthodox models of authorship in international art after 1960. Artistic collaboration in the late 1960s and during the 1970s occupied a special position: redefinitions of art and of artistic collaboration intersected. The thesis focuses on artistic collaborations that came to notice in the 1970s, locating them within the evolution of post-object art, conceptual art, installations, Earth Art, Art and Body Art. (For complete abstract open document)

Made available in DSpace on 2016-12-12T20:34:13Z (GMT). No. of bitstreams: 1 MriaLucila.pdf: 1456147 bytes, checksum: 4f3acdd8d32e7ec26be49407f4ac7b02 (MD5) Previous issue date: 2006-12-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The aim of this inquiry is to identify the heroic myth as a point of reference in the construction of the artistic identity. The heroic mythology is here taken as a key to clarify the questions related to identity. It is possible by making use of the term myth , in the sense adopted by authors, members of the Circle of Eranos, that is to say, as a tool to clarify the construction of artistic identity. It is presented a review of authors that considers the myth as a cultural truth, with great importance to the comprehension of society. After that, a study of case is developed, about the brazilian artist Leonilson, his talks and the texts of critics and the media. In this way is expected to find in the contemporary discourse about the figure of artist, the currently manifested expectance concerning his role on culture through heroic mythology / O foco desta dissertação é identificar o mito heróico como ponto de referência na construção da identidade artística, tendo no estudo da mitologia heróica a chave para clarificar as questões da identidade. Recorrendo ao termo mito , no sentido adotado pelos autores integrantes do Círculo de Eranos, ou seja, como uma ferramenta para clarificar a construção da identidade artística; apresenta-se uma revisão de autores que tratam o mito como uma verdade cultural de suma importância para a compreensão da sociedade. Em seguida desenvolve-se a noção do mito heróico como diretriz reveladora da identidade do artista. Desenvolve-se ainda, um estudo de caso tendo como referência o artista brasileiro Leonilson, sua biografia, suas falas e os discursos da crítica e da mídia, encontrando no discurso contemporâneo acerca da figura do artista a expectativa comumente manifestada a respeito do seu papel na cultura através da mitologia heróica

Ce travail porte sur la construction identitaire des femmes dont la profession est centrée autour d’une activité artistique. L’envie de réaliser cette étude me vient du constat que le sexe féminin est autant (voire plus) représenté que le sexe masculin dans les formations culturelles et artistiques et, pourtant, les femmes qui accèdent au « devant de la scène », celles qui sont reconnues en tant qu’artistes, exposées dans les musées et célébrées comme références restent rares en proportion. Je me suis appuyée sur la notion d'intersectionnalité pour enrichir une analyse de la notion d'identité. Je me suis intéressée au concept de domination masculine pour voir comment s'effectuent les rapports de pouvoir au sein des mondes de l'art. J'ai analysé comment le rôle de l'artiste est socialement construit afin de mieux comprendre les mécanismes d'élaboration de l'identité professionnelle chez les femmes artistes. Cette recherche porte sur les parcours de femmes artistes lus sous trois angles différents. Dans les récits de vie de mes interviewées, j'ai mis en avant les marques d'une socialisation différentielle féminine, les dérèglements des identités genrées et les dépassements des stéréotypes de genre dans la façon dont les femmes artistes se représentent leurs identités. J'ai précisé les éléments de la socialisation primaire qui avaient pu leur permettre, dans l'enfance, de s'orienter vers une carrière artistique. Dans un deuxième temps, j'ai analysé comment, dans leurs socialisations secondaires, les femmes se construisent et se développent des carrières d'artistes, quels modèles donnent envie de créer, quelles formations façonnent les devenirs professionnels et quels réseaux sont mis en place dans le champ de la création. En observant leur parcours scolaire et leur entrée dans le métier j'ai détaillé les modalités d'apprentissage d'une profession ainsi que des codes et des normes qui la régissent. Dans un troisième temps, enfin, j'ai étudié comment se sentent perçues aujourd'hui les femmes artistes, comment elles trouvent leur place dans les mondes de l'art et quels rôles leur sont accordés. Dans un univers professionnel encore majoritairement masculin j'ai notamment examiné la façon dont les femmes se trouvent confrontées aux questions de la famille, du couple, de la maternité, comment elles se débrouillent avec les modèles préexistants et comment elles naviguent dans des réseaux professionnels souvent synonymes d'un entre-soi masculin.Ce travail de recherche apporte une vision de la construction identitaire genrée chez les femmes artistes aujourd'hui. Il nous permet d'entrevoir comment des enquêtées trouvent leur place dans une position professionnelle particulière, profession caractérisée par le peu de femmes qui la constitue et par le rôle que cette activité tient dans la vie sociale. Cette thèse est enfin l'occasion de faire un point plus général sur la façon dont peuvent se combiner au présent identités de genre, de classe et professionnelle. / This work is about the construction of identity for the women who work around an artistic activity. The will to do this study came from the statement that women are more represented than men in the artistic training. However the few that came “in the limelight”, are recognized as great artists, exhibited in museum and celebrated as mentors, are really rare.I based my work on the notion of intersectionality to enrich my analysis of the notion of identity. I was interested in the concept of male domination in order to see how the power relationship is built within art worlds. I have analyzed how the artist's role is socially constructed in order to understand the ways in which female artists build their professional identityThis research is about the path of women artists perceived by three different points of view. In the life story of my interviewees, I spotlighted the label from a female differential socialisation, the disruption of the gender identity and, finally, the average of gender stereotypes in the way that women artists saw their identity. I specified the elements of the primary socialisation that has allowed them to move towards an artistic career since their childhood.In a second time I analysed how, in their secondary socialisation, women built and developed an artistic career, whose role model gave inclination to create, whose training shaped professional aspiration and whose network was implemented in the field of creation. Viewing their academic career and the beginning of their work, I detailed the way of learning a profession and codes and standards that regulate them.Finally in a third time I studied how women artists may feel perceived today, how they find their place into art worlds and what roles are approved for them. In a working world still primarily masculine I examined how women are affected by the question of family, couple and maternity, how they manage the pre-existing patterns and how they navigate into professional networks, which often means masculine self-segregation.This research brings a vision of identity building for women artists today. It allows us to envisage how the survey participants find their place into a particular professional position, because of the small number of women in this work and because of the role that this activity plays in social relationships. This research is finally a way to assess, generally speaking, the manner that gender, class and professional identity can be combined.

Este trabalho possui como tema o mercado da arte em Porto Alegre entre as décadas de 1990 e 2000, com foco no que denominamos de mercado da arte contemporânea. Volta-se a uma abordagem a partir do produtor primário, em outras palavras, o artista. Ou seja, na tríade “produtor, intermediários e consumidor”, a perspectiva adotada está centrada no produtor. Possui como objetivo averiguar e compreender as mais variadas mercadorias produzidas e comercializadas pelos artistas, assim como sua inserção em um mercado de trabalho. Deste modo, esta pesquisa não se limita a considerar somente o processo de compra e venda de obras, mas se propõe a entender e refletir sobre como os artistas participam de um processo produtivo e mercadológico entre 1990 e 2012 em Porto Alegre. Para tal entendimento, constitui-se uma pesquisa interdisciplinar entre arte, sociologia e economia, tendo como aporte teórico Pierre Bourdieu, Domenico de Masi, Michael Hardt, André Gorz e Maurizio Lazzarato. A pesquisa foi constituída a partir de três vertentes. A primeira, via entrevistas com atores locais do campo artístico (artistas, colecionadores, galerista, curadores, professores universitários). A segunda, através de enquete disponibilizada e divulgada via internet, que pretendeu atingir o maior número possível de agentes locais. A terceira, por meio de revisões bibliográficas a respeito da estrutura e história de um sistema artístico e seu mercado em Porto Alegre. Assim, esta proposição discute a condição do artista inserido em um sistema artístico, produtivo, mercadológico e seus meios de aquisição de capital financeiro, simbólico e de permanência no campo. / The theme of this work is the art market in Porto Alegre between the decades of 1990 and 2000, focusing on what we call contemporary art market. Its approach is on the primary producer, in other words, the artist. I.e., in the triad "producer, middlemen and consumers", the adopted perspective is centered on the producer. It is aimed at finding out and understanding the various goods produced and marketed by the artists, as well as their insertion in a labor market. Thus, this research is not limited to considering only the process of buying and selling works, but it aims to understand how artists participate in a production and a marketing process between 1990 and 2012 in Porto Alegre. For such understanding, it constitutes an interdisciplinary research between art, sociology and economics, having as theoretical basis Pierre Bourdieu, Domenico de Masi, Michael Hardt, André Gorz and Maurizio Lazzarato. The research has three strands. The first one, via interviews with agents from the local field (artists, collectors, gallery owners, curators, university professors). The second one, through a survey available and disseminated via the Internet, which sought to reach the largest possible number of local agents. The third one, through literature reviews on the structure and history of an art system and its market in Porto Alegre. Thus, this proposition discusses the status of the artist inserted into an artistic, productive and marketing system and their means of acquisition of financial, symbolic and permanence capital in the field.