A particular literary genre, the exhibition review, forms the subject of this dissertation. It represents one facet of a discourse which began to develop in Britain during the latter years of the eighteenth century. Art historians have become increasingly interested in such criticism, but have usually treated it, not as an historical phenomenon which in itself deserves a full investigation, but as a pool of evidence from which to draw remarks concerning individual artists or works of art It is argued that such a one-dimensional approach is unsatisfactory, but that in attempting to go beyond it, the methodological problems posed by this primary source need to be considered. It is stressed that the building up of a basic corpus of knowledge is very important, and an inventory of identified critics is presented in order to assist this. Some observations on the careers of these critics are given. The exhibition reviews published in two contrasting periodicals, the Sun and The Examiner, form the subjects of case studies. The latter are known to have been penned by Robert Hunt and present no problems of attribution. The former are ascribed to John Taylor and the supporting evidence is put forward. The reviews are compared and it is shown how they differed according to their published contexts, and according to the idiosyncracies of their authors. It is suggested that in spite of these differences, a shared critical idiom was a strong force which led reviewers to make many similar comments. This idiom and the precedents which determined its nature are examined. The ways in which it at once harboured and yet disguised certain ideologies are demonstrated. Evidence which helps to place reviews into a more rounded picture of the past is given in conclusion, including statements which show that contemporaries perceived the press as an important influence on the development of taste.

During the transition from the eighteenth to the nineteenth century, a sea change took place in the British art world that reflected a general shift in attitude towards the arts. Artists redefined their social status and fought for their criteria to be taken into account, acquiring a new, influential position within the artistic circles, in which the authority of theorists and connoisseurs, amateurs whose approach to the work of art was that of the collector and critic, never the creator, had been so far undisputed. Influenced by new social theories and powerful contemporary cultural movements, and motivated by the success of artists like Hogarth and Reynolds and of the Royal Academy, artists felt encouraged to stand up for and secure their artistic authority. Thus, the increasingly widespread interest in art and aesthetics throughout the eighteenth century culminated in the realisation, on the artists' part, of their importance in such matters; subsequently, the long-debated issue of the dignity of the artist was brought to the forefront and became key in the artistic discourse of turn-of-the-century Britain. We can trace the evolution of the discourse on the authority of artists from Reynolds's idea that a painter can be a gentleman despite being a painter, to Ruskin's humble acceptance, in the prologue to the first volume of Modern Painters, of the necessity to have a practical knowledge of art in order to understand it. It was a veritable revolution in art theory, a 'second renaissance' for the figure of the artist, who until then had been considered a mere craftsman. A whole tradition was being challenged, and the new language artists employed to advance their ideas was not that of theory, but practice.

This thesis aims to facilitate a broader understanding of post-revolutionary Iranian filmmaking, by way of an analysis of the New Iranian Cinema and Iranian cinema in exile and diaspora, and the various relationships between these two cinemas. Thus far no significant attempt has been made to consider these two cinemas in relation to each other. This thesis therefore represents a significant contribution to this line of research. Along the way it addresses several key concepts of long-standing importance in film studies, such as notions of art cinema, authorship and national cinema, in particular how such concepts have been used as a means of studying the New Iranian Cinema. Exilic and diasporic Iranian filmmaking represents a challenge to traditional understandings of these concepts. The first chapter therefore examines how the New Iranian Cinema has been received and constructed as an archetypal 'art cinema' in Europe and North America, in addition to how this cinema invites, at the same time as it resists, such interpretations. Thereafter follows a consideration of Iranian emigre filmmaking across Europe and North America, and how it has changed over the past thirty years, gradually shifting from an exclusively exilic to a pan-diasporic outlook. Chapters three and four are individual case studies of Iranian emigre filmmakers Amir Naderi and Sohrab Shahid Saless respectively. As two of Iran's most important and influential pre-revolutionary filmmakers, the works of Naderi and Saless represent not only interesting divergences from the evolutionary understanding of Iranian emigre cinema outlined in the second chapter, but also form two of the most compelling links between the New Iranian Cinema, and it exilic and diasporic counterpart. This thesis concludes by arguing for a more flexible and open-ended conception of national cinema more generally, as well as more comprehensive, nuanced and deterritorialised understanding of post-revolutionary Iranian filmmaking.

This thesis provides a re-reading of the development of twentieth-century dance, focusing on the choreographic work and creative processes of Mary Wigman, Martha Graham, and Pina Bausch. Using these individuals as markers of three distinct temporal stages of contemporary dance, I argue that avant-garde dance practice throughout the twentieth-century was irrevocably associated with, and influenced by, the aesthetics and ritual practices of non-Western cultures. Instead of charting a chronological structure, I have used a thematic framework based on the concept of ritual performance, beginning with fertility rites (as espoused by different choreographies of Stravinsky’s Rite of Spring), before moving on to explore masking devices, conceptions of national and cultural identity, and mourning and commemoration. Through a series of individual case study analyses, this thesis maps the impact of inter-cultural exchange on the development of non-classical dance. I posit that, as modern dance emerged and evolved throughout the twentieth-century, practitioners consistently drew strong influence from cross-cultural aesthetics; I focus specifically on links between Western (represented by Germany and the United States) and non-Western (including Japanese and Native American) performance. Using evidence drawn from primary source material, including original film footage, photography and personal effects, I construct separate analyses of commonalities in the work of Wigman, Graham, and Bausch, arguing that the ritualistic themes of their work can be viewed as a pattern for the development of contemporary dance more broadly. My research identifies previously unexplored sources of influence upon these artists. This thesis presents a re-evaluation of established discourse by focusing on a foreign influence that has not been identified in current research as a common thread linking these three artists; while connections have been established between German and American early modern dance, the reciprocal influence of Western practice on Far Eastern performance is comparatively uncharted territory. In the second half of this thesis, I outline the response to this cross-cultural dialogue, focusing on the postmodern artistic practice of groups in Japan, Austria and Germany. Accordingly, this thesis deconstructs the notion of cultural isolation, arguing instead that, as a logical outcome of this inter-cultural exchange, dance in the postmodern era is informed by a legacy of universalised, ritualistic practice.

This research is focused on the experiences of older adults participating in an innovative visual arts program at a long-term care facility in Victoria, British Columbia. The program offers participants an opportunity to explore their creativity and identity as artists. Conceptually, the study draws from Tornstam’s gerotranscendance framework (Tornstam, 2005) and the theory of meaning (Frankl, 1963). A narrative inquiry approach was used with data collected through face-to-face interviews and observations of 10 residents and three staff involved in the visual arts program. Findings indicate that the program fostered a sense of community among participants and enhanced their quality of life. The public exhibition of their artwork at a community-based art exhibit validated the merit of their work and gave meaning and purpose to their participation in the program. Findings contribute to a greater understanding of the importance of arts programs that foster creativity in later life and resonate with Tornstam’s (2005) argument that older people living in institutions can experience multiple dimensions of the self through individualized forms of expression. This study concludes by highlighting the need to increase access to arts programs for older people living in residential care. / Graduate / lyciar@yahoo.com

Syftet med studien var att undersöka och belysa tre lärares syn på interkulturellt perspektiv i skolan med fokus på bildämnet, samt ge en bredare inblick i deras erfarenheter om ämnet i fråga. Studiens frågeställningar handlar om hur de tillfrågade bildlärarna resonerar kring interkulturellt perspektiv inom bildämnet och hur de anser att en inkluderande läromiljö kan skapas för elever som har en annan kulturell bakgrund. Studien är grundad i det interkulturella perspektivet. Semistrukturerade intervjuer har använts som undersökningsmetod. Resultaten visade enligt tillfrågade lärarna att interkulturalitet kan gynna elevernas lärande, dock finns det en del svårigheter som kan försvåra för lärare för att kunna inkludera elevernas kulturella bakgrund i undervisningen på ett bra och givande sätt.

A large amount of people suffer from mental illnesses such as depression and autism. Receiving the care they need can be a very difficult process, with long queues and expensive bills. Automating part of the therapeutic process might be a solution to this. More patients could be treated at the same time, and the cost could be decreased. This project explores the possibilities of using a robot that paints together with patients. Such a robot would encourage the patient to be creative, which is thought to be an efficient way of improving their well-being. The painting will be done in a turn-based fashion, each taking turns adding details to the same painting. Software is developed for the robot Baxter, made by Rethink Robo\-tics. Computer vision concepts and algorithms is applied to interpret what the user has painted and construct a plan of what Baxter will paint. Painting is then done by tracing the target shape through a set of pre-defined points on a canvas. The constructed system performs fairly well - although the user is limited to painting lines, squares, rectangles and circles. Further work can be done to increase the amount of options available to the user. This system serves as a model of how a similar system could be used in reality. / En stor mängd folk lider av mentala sjukdomar som depression och autism. Att få den hjälp som dem behöver kan vara en jobbig process, med långa köer och dyra kostnader. Detta innebär att många människor lider längre tid än vad de vad de ska behöva göra, eller att de inte har råd att skaffa den hjälp som dem behöver. Att automatisera en del av den terapeutiska processen skulle kunna vara en lösning till detta. Flera patienter skulle kunna bli behandlade samtidigt och kostnaderna skulle minska. Detta projekt utforskar möojligheterna kring användning av en robot som målar tillsammans med patienter. Detta skulle uppmuntra patienterna att vara kreativa, vilket tros vara ett effektiv sätt att förbättra deras välmående. Roboten kommer måla tillsammans med patienter på ett tur-baserat vis, där var och en lägger till detaljer i samma målning. Mjukvara utvecklas till roboten Baxter, gjord av Rethink Robo\-tics. Koncept och algoritmer för datorseende appliceras för att tolka vad som använ\-daren har målat och bygga upp en plan av vad Baxter ska måla. Målandet utförs genom att spåra den slutgiltiga formen genom ett par för-definierade punkter på tavlan. Det tillverkade systemet presterar hyfsat bra - även om användaren är begr\-änsad till att rita linjer, kvadrater, rektanglar och cirklar. Fortsatt utveckling kan utöka antal valmöjligheter för användaren. Systemet agerar som en modell för hur ett liknande system skulle kunna användas i verkligheten.

Arbetet undersöker om bildanalytiska studier kan användas som utgångspunkt i samband med formgivning av spelomslag representativa för actiongenren och som tilltalar dess huvudmålgrupp, utan att bygga på genremässiga stereotyper. Inledningsvis diskuteras fysionomi och arketyper för att visa på skillnader kontra begreppet stereotyp. Därefter skapas en grund för uppfattningen om stereotyper med hjälp av socialpsykologisk forskning som leder in på aktuell forskning kring generalisering i spel. Samtidigt diskuteras metoder som kan användas för att analysera visuella uttryck.  Undersökningen inleddes med en bildanalys av tre aktuella spelomslag. Bildanalysen fungerade därefter som utgångspunkt i samband med designarbetet kring tre spelomslag, som fick olika designelement med syftet att undersöka arbetets frågeställning. Materialet användes i en kvantitativ undersökning i form av en webbenkät där slutna och öppna frågor varierades. Resultatet visade på indikationer med möjlighet att attrahera actiongenrens huvudmålgrupp utan användandet av genremässiga stereotyper. Studien kan med fördel användas inom spelutveckling för att understödja neutralisering av designelement likväl som en möjlighet att attrahera en större målgrupp.

Esta pesquisa foi desenvolvida no Programa de Pós-Graduação em Artes Visuais, na Área de Concentração Teoria, Ensino e Aprendizagem da Arte, na Linha de Pesquisa Fundamentos do Ensino e Aprendizagem da Arte, da Escola de Comunicações e Artes da Universidade de São Paulo. Objetivou investigar aspectos que decorrem das inter-relações entre Artes Visuais, cultura visual e formação docente, que compreendem a prática educativa e a prática artística. A partir destes pontos de tensões, aponta-se a imagem da moda em confluência com o ensino de arte na prática do estágio curricular supervisionado, podendo sugerir e impulsionar formas de ensino e aprendizagem autônomas e colaborativas na formação do artista/professor/pesquisador em Artes Visuais. Aborda-se uma reflexão teórica voltada para a cultura visual, bem como para as derivações sobre arte relacional e processo criativo. Desta forma a pesquisa pautou-se sobre alguns aspectos reflexivos da artografia, bem como sobre da arte relacional, entendendo um conjunto de práticas artísticas que tomam como ponto de partida (teórico e prático) as relações humanas e seu contexto social. / This research was developed in the Graduation Program in Visual Arts of the Arts and Communication School of the University of Sao Paulo, concentration area of Art Theory, Teaching and Learning, and research interest The Fundamentals of Art Teaching and Learning. It aimed to investigate the aspects that elapse from the interrelations among Visual Arts, Visual Culture and Faculty Formation, which comprehend the educational and artistic practice. From these tension points, it aims the fashion image in confluence with the art teaching in the practice of the supervised internship, being able to suggest and instigate collaborative and autonomous ways of teaching and learning in the formation of the artist/teacher/researcher in the Visual Arts. It approaches a theoretical reflection about the visual culture, as well as the derivations of the relational art and the creative process. Thus, this research was based on some reflexive aspects of the artography and the relational art, comprehending a group of artistic practices that take as initial point (theoretical and practical) the human relations and their social context.

Uppsatsen handlar om hur karaktärer i utanförskap gestaltas i film med huvudfokus på Tim Burton (1958) och hans positiva freaks. Positiva freaks är karaktärer som anses vara annorlunda men som menar väl. Karaktärerna som analyseras i uppsatsen är Edward från Edward Scissorhands (1990), Victor från Corpse Bride (2005), Alice från Alice i Underlandet (2010) och Jake från Miss Peregrines Hem för Besynnerliga Barn (2016). Syftet med denna uppsats är att få en djupare förståelse för Tim Burtons freaks och hur de fungerar som ett nytt sätt att gestalta karaktärer för att vinna publikens sympati. I undersökningen har uppsatsen använt sig av en litteraturundersökning för att göra en analys av de ovannämnda filmerna och se hur Burton har gestaltat karaktärerna i sina filmer utifrån den ”yttre” och ”inre” karaktären. I slutdiskussionen så syns det tydligt att protagonisterna på ett eller annat sätt besitter egenskaper som skiljer dem från resten av omvärlden. Oavsett om det är fysiska abnormiteter eller psykiska så vinner de oftast publikens sympati. Det syns även tydligt att de har genomgått en förändring genom tiden där deras inre egenheter blir starkare men även osynliga. Man kan helt enkelt hävda att Burtons freaks har vandrat inåt.