subject:( art)

Stellenbosch University

1. Cronje, Daniel Christiaan. 'n Ondersoek na integrasie van teoretiese en praktiese komponente in die onderrig van Visuele Kunste in 'n Suid-Afrikaanse hoerskoolkonteks.

Degree: Visual Arts, 2014, Stellenbosch University

URL: http://hdl.handle.net/10019.1/96121

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Thesis (MA(VA)) – Stellenbosch University, 2014.

ENGLISH ABSTRACT: The gap between the theoretical and practical aspects of art education is a trend that is discussed and… (more)

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Thesis (MA(VA)) – Stellenbosch University, 2014.

ENGLISH ABSTRACT: The gap between the theoretical and practical aspects of art education is a trend that is discussed and investigated in both the South African and the global context. In 2009, I found that my students at Elkanah House were not doing particularly well academically, and that they displayed a negative attitude towards the theoretical component of Visual Arts. This is not a unique phenomenon. Steers (2009) refers to the gap between theoretical and practical components in his article on globalisation in visual culture. According to Steers, a gap developed in various educational settings between the content and how it is practically carried out in the orthodox school curriculum. In addition, the publications Art Education and Art Education Journal issued a call for articles on the same topic in 2013. To address the problem, I systematically developed an art curriculum from grade 10 based on the praxis of the theoretical and practical components of teaching art at my school from 2010 onwards. This curriculum includes the following: 1) experiential learning and alternative learning perspectives; 2) critical and reflective thinking; 3) development of theory through practical investigations and experiences; 4) somatic knowledge, qualitative reasoning and communicative knowledge; 5) material thinking, learning through the use of materials and body; 6) cohesive discovery of knowledge; and 7) citizenship development. The purpose of the present study was to investigate how students experienced an art curriculum that integrated theory and practice through various projects. The investigation was based on an empirical research method utilizsing a qualitative approach and a case study design. In the research, a combination of themes including various learning theories in the process of experiential learning; development of critical thinking and reflection; development of critical citizenship education; and praxis as a concept in an art curriculum were examined to narrow the gap between the theoretical and practical components of Visual Arts. The results of the research indicated that the students’ academic performance improved and aspects of critical reflective thinking, critical citizenship and awareness of the wider context in which students find themselves had also been enhanced.

AFRIKAANSE OPSOMMING: Die gaping tussen teoretiese en praktiese komponente in kunsonderwys is ŉ tendens wat in beide Suid-Afrikaanse en globale kontekste bespreek en ondersoek word. In 2009 het ek gevind dat my studente by Elkanah House nie akademies goed vaar nie, en ook ŉ negatiewe houding teenoor die teoretiese komponent van Visuele Kunste toon. Dit is nie ŉ unieke tendens nie. Steers (2009) verwys in sy artikel oor globalisering in visuele kultuur na die gaping wat tussen die teorie en die praktyk ontstaan het. Volgens Steers het daar in die ortodokse skool kurrikulum ‘n gaping in verskeie onderwyssituasies ontwikkel tussen die inhoud en dit wat prakties uitgevoer word. Die…

Advisors/Committee Members: Constandius, Elmarie, Perold, Karolien, Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Visual Arts..

Subjects/Keywords: Art

Record Details Similar Records Cite « Share

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Cronje, D. C. (2014). 'n Ondersoek na integrasie van teoretiese en praktiese komponente in die onderrig van Visuele Kunste in 'n Suid-Afrikaanse hoerskoolkonteks. (Thesis). Stellenbosch University. Retrieved from http://hdl.handle.net/10019.1/96121

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Cronje, Daniel Christiaan. “'n Ondersoek na integrasie van teoretiese en praktiese komponente in die onderrig van Visuele Kunste in 'n Suid-Afrikaanse hoerskoolkonteks.” 2014. Thesis, Stellenbosch University. Accessed February 27, 2021. http://hdl.handle.net/10019.1/96121.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Cronje, Daniel Christiaan. “'n Ondersoek na integrasie van teoretiese en praktiese komponente in die onderrig van Visuele Kunste in 'n Suid-Afrikaanse hoerskoolkonteks.” 2014. Web. 27 Feb 2021.

Vancouver:

Cronje DC. 'n Ondersoek na integrasie van teoretiese en praktiese komponente in die onderrig van Visuele Kunste in 'n Suid-Afrikaanse hoerskoolkonteks. [Internet] [Thesis]. Stellenbosch University; 2014. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/10019.1/96121.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Cronje DC. 'n Ondersoek na integrasie van teoretiese en praktiese komponente in die onderrig van Visuele Kunste in 'n Suid-Afrikaanse hoerskoolkonteks. [Thesis]. Stellenbosch University; 2014. Available from: http://hdl.handle.net/10019.1/96121

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Stellenbosch University

2. Harmsen, Corlia. Shape me into your idea of home : representations of longing in contemporary photography and video practice.

Degree: Visual Arts, 2011, Stellenbosch University

URL: http://hdl.handle.net/10019.1/6578

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Thesis (MA (Visual Arts)) – University of Stellenbosch, 2011.

ENGLISH ABSTRACT: This study is motivated by an interest in a host of idiosyncratically interrelated phenomena that… (more)

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Thesis (MA (Visual Arts)) – University of Stellenbosch, 2011.

ENGLISH ABSTRACT: This study is motivated by an interest in a host of idiosyncratically interrelated phenomena that can be understood, in my view, as symptomatic of a primary interest in representing experiences of affect, loss, alienation and objectification of an “other”, which in turn, necessitates a critical interrogation of the notion of self. These phenomena include notions of the body (animal and human), private and public spaces, voyeurism, transgression, desire, fetishization, sentimentality and most critically, nostalgia as understood through experiences of homesickness and heimwee. My focus is on the affective potential of contemporary lens-based (photographic and video) art. I approach this study by way of three central ideas: the longing for home (the relationship between self/space); the longing for the body (the relationship between body/self); and the longing for the other (the relationship between self/other). I make use of psychoanalytic and feminist theory, as well as theoretical interpretations of photography and screen-based media, in the broader context of visual art and culture, to frame my discussion. As such, this study draws on the theoretical work of Roland Barthes and Susan Sontag to introduce basic concepts such as the relationship between photography and memory, and develops these to include ideas of the gaze, self and alientation from the self read through Judith Butler and Jacques Lacan’s image of the mirror phase; home and homesickness read through Martin Heidegger, Sigmund Freud’s notion of das unheimlich (uncanny) and Julia Kristeva’s notion of abjection; and Gilles Deleuze and Felix Guattari’s objectification of the animal-other. This study is intimately linked with, and critically informed by my personal artistic practice, which focuses specifically on the photographic or filmic representation (projection) of separation, displacement and longing for an absent other (home, partner & domestic animal). I discuss my own work relation to selected examples by artists including Shizuka Yokomizo, Sophie Calle, Penny Siopis and Jo Ractliffe, among others, framing the art object and related processes as cathartic, mnemonic and talismanic; acknowledging the paradoxical aspect of photography as simultaneously distancing and acting as a trace of the real; and analysing the evocative (metaphorical or conceptual) allusions made possible by lens-based processes and their presentation as print and projection, image and screen.

AFRIKAANSE OPSOMMING: My navorsing is gemotiveer deur ŉ belangstelling in ŉ menigte idiosinkratiese onderling verbonde verskynsels wat myns insiens beskou kan word as simptomaties van ŉ primêre belangstelling daarin om ervarings van affek, verlies, aliënasie en objektivering van ŉ “ander” weer te gee. My fokus sal op die verband tussen kontemporêre kuns en affek wees. Hierdie onderling verbonde verskynsels sluit in: die self en…

Advisors/Committee Members: Bull, Katherine, Smith, Kathryn, University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Visual Arts..

Subjects/Keywords: Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Harmsen, C. (2011). Shape me into your idea of home : representations of longing in contemporary photography and video practice. (Thesis). Stellenbosch University. Retrieved from http://hdl.handle.net/10019.1/6578

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Harmsen, Corlia. “Shape me into your idea of home : representations of longing in contemporary photography and video practice.” 2011. Thesis, Stellenbosch University. Accessed February 27, 2021. http://hdl.handle.net/10019.1/6578.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Harmsen, Corlia. “Shape me into your idea of home : representations of longing in contemporary photography and video practice.” 2011. Web. 27 Feb 2021.

Vancouver:

Harmsen C. Shape me into your idea of home : representations of longing in contemporary photography and video practice. [Internet] [Thesis]. Stellenbosch University; 2011. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/10019.1/6578.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Harmsen C. Shape me into your idea of home : representations of longing in contemporary photography and video practice. [Thesis]. Stellenbosch University; 2011. Available from: http://hdl.handle.net/10019.1/6578

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Stellenbosch University

3. Stuart-Clark, Lucy Bena. Fragments of modernity, shadows of the gothic : questions of representation and perception in William Kentridge's "I am not me, the horse is not mine" (2008).

Degree: MPhil, Visual Arts, 2012, Stellenbosch University

URL: http://hdl.handle.net/10019.1/71622

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ENGLISH ABSTRACT: Contemporary South African artist William Kentridge’s experimentation with the visual strategies of European modernism and nineteenth-century optical devices, particularly the fragmented figure and… (more)

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ENGLISH ABSTRACT: Contemporary South African artist William Kentridge’s experimentation with the visual strategies of European modernism and nineteenth-century optical devices, particularly the fragmented figure and shadow perception, has been well documented in contemporary cultural discourse. It is, however, something for which he is often criticized. In this dissertation I will demonstrate that Kentridge’s enduring interest in European modernism and the processes of human perception are in fact inextricably linked. I will further argue that the significance of this connection resides in that they are both critical visual strategies for exploring the fragmented nature of a postmodern postcolonial subjectivity in a South African contemporary cultural context. Kentridge’s concern with the subjective nature of the construction of knowledge, of the space between seeing and knowing, memory and reality, is a central motif in his art practice and is understood to be a personal attempt to reconcile his present with the past, South Africa’s colonial history with Western history and modernism with postmodernism. Shaped by theories of altermodernity, neomodern anthropology, and the relationship between the observer and ‘the gaze’ in contemporary discourse, my dissertation will thus also argue that Kentridge’s interrogation of the fragmented nature of human subjectivity could be regarded as being ethnographic and Gothic in nature. His multi-channel video installation, I am not me, the horse is not mine (2008), will provide the key visual text for my argument, for it is in this artwork that the inseparability of these concerns are best exemplified, particularly in his experimentation with fragmentation, the Russian avant-garde and shadows. I conclude this research with a discussion of my own creative work, which is a re-imagining and critical investigation of my maternal grandfather’s archive of late eighteenth-century family silhouette portraits. As such, I interrogate notions of subjectivity, human perception and an ‘altermodern’ anthropological quest through a personal lens, in the context of the broader concerns raised by Kentridge’s work.

AFRIKAANSE OPSOMMING: Die kontemporêre Suid-Afrikaanse kunstenaar William Kentridge se eksperimentering met die visuele strategieë van die Europese modernisme en negentiende-eeuse optiese toestelle, veral die gefragmenteerde figuur en skaduwee persepsie, is goed gedokumenteer in die hedendaagse kulturele debat. Dit is egter ook waarvoor hy dikwels gekritiseer word. In hierdie verhandeling sal ek aantoon dat Kentridge se volgehoue belangstelling in die Europese modernisme en die prossese van menslike waarneming onlosmaaklik aan mekaar verbind is. Ek sal verder aanvoer dat die betekenis van hierdie verband daarin geleë is dat albei krities belangrike visuele strategieë is waardeur die gefragmenteerde aard van 'n post-moderne, post-koloniale subjektiwiteit in ‘n Suid-Afrikaanse kontemporêre kulturele konteks verken kan word. Kentridge se besorgheid oor die subjektiewe aard van die…

Advisors/Committee Members: Smith, Kathryn, Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Visual Arts..

Subjects/Keywords: Art

Record Details Similar Records Cite « Share

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Stuart-Clark, L. B. (2012). Fragments of modernity, shadows of the gothic : questions of representation and perception in William Kentridge's "I am not me, the horse is not mine" (2008). (Thesis). Stellenbosch University. Retrieved from http://hdl.handle.net/10019.1/71622

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Stuart-Clark, Lucy Bena. “Fragments of modernity, shadows of the gothic : questions of representation and perception in William Kentridge's "I am not me, the horse is not mine" (2008).” 2012. Thesis, Stellenbosch University. Accessed February 27, 2021. http://hdl.handle.net/10019.1/71622.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Stuart-Clark, Lucy Bena. “Fragments of modernity, shadows of the gothic : questions of representation and perception in William Kentridge's "I am not me, the horse is not mine" (2008).” 2012. Web. 27 Feb 2021.

Vancouver:

Stuart-Clark LB. Fragments of modernity, shadows of the gothic : questions of representation and perception in William Kentridge's "I am not me, the horse is not mine" (2008). [Internet] [Thesis]. Stellenbosch University; 2012. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/10019.1/71622.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Stuart-Clark LB. Fragments of modernity, shadows of the gothic : questions of representation and perception in William Kentridge's "I am not me, the horse is not mine" (2008). [Thesis]. Stellenbosch University; 2012. Available from: http://hdl.handle.net/10019.1/71622

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Stellenbosch University

4. Foster, John-Henry Edward. Hulle wil dit so hê : ontologiese anargie en die rewolusie van die verbeelding.

Degree: MA, Visual Arts, 2012, Stellenbosch University

URL: http://hdl.handle.net/10019.1/71800

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ENGLISH ABSTRACT: This study comprises a philosophical investigation into the development of a non-representational resistance against the State, with specific focus on the role of… (more)

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ENGLISH ABSTRACT: This study comprises a philosophical investigation into the development of a non-representational resistance against the State, with specific focus on the role of the imagination in both repression and the struggle for freedom. Using Deleuze & Guattari’s non-representasional ontology, the researcher argues that Deleuze and Guattari’s ontological system can be described as an ontological anarchy, which supplies us with tactics of resistance that strongly deviates from traditional Representational or Revolutionary models of resistance. Building on a discussion of Situationism and Hakim Bey’s T.A.Z, the argument is made that these non-representasional resistive tactics could ‘open’ the category of art up to a whole network of creative and life practices – a transformation that has the ability to free art as well as the everyday. In stead of refecting back on a supposed ‘background’ Reality, this resistance relies on the ontologically anarchic practice of reality production. The idea of the non-ordinary or peak experience, assosiated with sorcery, plays a crucial role in this production process, and the argument is made for the use the of these experiences to create a lasting peak experience, ultimately constituting a shared level of peak intensity between people that the researcher calls ‘the revolution of the imagination’. Key words: ontology, anarchy, anarchism, the State, resistance, revolution, imagination, complexity, ontology of art, poststructuralism, Representation, non-representationality, peak experience, sorcery, the everyday, Situationism, psychogeography, geophilosopy, phenomenology.

AFRIKAANSE OPSOMMING: Hierdie studie is ŉ filosofiese ondersoek na die ontwikkeling van ŉ nie-representasionele weerstand teen die Staat, met besondere klem op die rol van die verbeelding in die onderdrukking van, sowél as die stryd om vryheid. Deur middel van Deleuze & Guattari se nie-representasionele ontologie word daar tussen Representasie, wat met die Staat as komplekse en gesamentlik geproduseerde sosiale konfigurasie verband hou, en nie-representasionaliteit, wat met anargisme saamhang, onderskei. Die navorser voer aan dat Deleuze & Guattari se ontologiese sisteem as ŉ ontologiese anargie beskryf kan word wat ons van weerstandstaktieke voorsien wat sterk van tradisionele Representasionele of Rewolusionêre weerstandsmodelle afwyk. Na aanleiding van ŉ bespreking van Situasionisme en Hakim Bey se T.A.Z word daar betoog dat hierdie nie-representasionele weerstandstaktieke, die kategorie van kuns kan ‘oopmaak’ tot ŉ hele netwerk van ander kreatiewe en lewenspraktyke – ŉ transformasie wat terselfdertyd kuns én die alledaagse kan bevry. In plaas daarvan om terug te kaats op ŉ veronderstelde ‘agtergrond’- Werklikheid, gaan dié stryd om die ontologies anargiese praktyk van werklikheidsproduksie. Die idee van nie-gewone ervaring, of die spitservaring, wat met towery geassosieer word, speel ŉ sentrale rol in hierdie produksie, en daar word aangevoer dat dit gebruik kan word om…

Advisors/Committee Members: Kaden, Marthie, Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Visual Arts..

Subjects/Keywords: Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Foster, J. E. (2012). Hulle wil dit so hê : ontologiese anargie en die rewolusie van die verbeelding. (Masters Thesis). Stellenbosch University. Retrieved from http://hdl.handle.net/10019.1/71800

Chicago Manual of Style (16^th Edition):

Foster, John-Henry Edward. “Hulle wil dit so hê : ontologiese anargie en die rewolusie van die verbeelding.” 2012. Masters Thesis, Stellenbosch University. Accessed February 27, 2021. http://hdl.handle.net/10019.1/71800.

MLA Handbook (7^th Edition):

Foster, John-Henry Edward. “Hulle wil dit so hê : ontologiese anargie en die rewolusie van die verbeelding.” 2012. Web. 27 Feb 2021.

Vancouver:

Foster JE. Hulle wil dit so hê : ontologiese anargie en die rewolusie van die verbeelding. [Internet] [Masters thesis]. Stellenbosch University; 2012. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/10019.1/71800.

Council of Science Editors:

Foster JE. Hulle wil dit so hê : ontologiese anargie en die rewolusie van die verbeelding. [Masters Thesis]. Stellenbosch University; 2012. Available from: http://hdl.handle.net/10019.1/71800

Stellenbosch University

5. Young, Tamlyn. Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community.

Degree: MPhil, Visual Arts, 2014, Stellenbosch University

URL: http://hdl.handle.net/10019.1/95797

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ENGLISH ABSTRACT: This thesis investigates stop motion animation as a form of socially engaged visual storytelling. It aims to expand commonly held perceptions that associate… (more)

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ENGLISH ABSTRACT: This thesis investigates stop motion animation as a form of socially engaged visual storytelling. It aims to expand commonly held perceptions that associate animation with the mass media and entertainment industries by investigating three non-industry related contexts: the artist studio, the classroom and the community. In each respective context the coauthoring of stop motion animation was employed as a means to promote collaboration between artists, students and members of the public. This was intended to encourage participants to share their stories regardless of language differences, contrasting levels of academic development and diverse socio-cultural backgrounds. Thus, animation making provided a means of promoting inclusivity through active participation and visual communication. This process is perceived as valuable in a South African context where eleven official languages and a diversity of cultures and ethnicities tend to obstruct an integrated society. My fundamental argument is that animation can be used as a tool to facilitate the materialisation, dissemination and archiving of stories whilst promoting the creative agency of the storyteller.

AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek stop-aksie animasie as ‘n tipe van sosiaal-geaktiveerde visuele vertelkuns. Die studie is daarop gerig om algemene aannames oor animasie – wat animasie assosieer met die massamedia en die vermaaklikheidsindustrie – te verbreed deur drie nienywerheidsverbonde kontekste te ondersoek: die kunstenaar se ateljee, die klaskamer en die gemeenskap. In elk van die onderskeie kontekste word die gesamentlike skepping van die stop-aksie animasie gebruik as ‘n manier om samewerking tussen kunstenaars, studente en die algemene publiek te bevorder. Die doel is om deelnemers aan te moedig om hul stories te deel, ongeag taalverskille, verskillende vlakke van akademiese ontwikkeling, en diverse sosio-kulturele agtergronde. Daarom verskaf die skepping van animasie ‘n geleentheid om samewerking te bevorder deur aktiewe deelname en visuele kommunikasie. Die proses word veral in die Suid Afrikaanse konteks as waardevol beskou, waar elf amptelike tale, asook ‘n diversiteit van kulture en etniese groepe, dikwels die skep van ‘n geïntegreerde samelewing belemmer. My hoofargument is dat animasie met vrug gebruik kan word as ‘n metode om die skepping, disseminasie en argivering van stories te fasiliteer en terselfdertyd ook die kreatiewe rol van die storieverteller aan te moedig.

Advisors/Committee Members: Van Robbroek, Lize, Dietrich, Keith, Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Visual Arts..

Subjects/Keywords: Art

Record Details Similar Records Cite « Share

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Young, T. (2014). Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community. (Thesis). Stellenbosch University. Retrieved from http://hdl.handle.net/10019.1/95797

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Young, Tamlyn. “Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community.” 2014. Thesis, Stellenbosch University. Accessed February 27, 2021. http://hdl.handle.net/10019.1/95797.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Young, Tamlyn. “Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community.” 2014. Web. 27 Feb 2021.

Vancouver:

Young T. Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community. [Internet] [Thesis]. Stellenbosch University; 2014. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/10019.1/95797.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Young T. Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community. [Thesis]. Stellenbosch University; 2014. Available from: http://hdl.handle.net/10019.1/95797

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Addis Ababa University

6. Habtamu, Atnafu. SURVIVAL TIME OF HIV-INFECTED CHILDREN UNDER 15 YEARS OF AGE AFTER INITIATION OF ANTIRETROVIRAL THERAPY: A CASE STUDY IN BAHIR DAR .

Degree: 2013, Addis Ababa University

URL: http://etd.aau.edu.et/dspace/handle/123456789/225

► Even though the use of Antiretroviral treatment has made a marked influence on the survival time of HIV-infected children, all children who received ART drugs… (more)

Subjects/Keywords: ART

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Habtamu, A. (2013). SURVIVAL TIME OF HIV-INFECTED CHILDREN UNDER 15 YEARS OF AGE AFTER INITIATION OF ANTIRETROVIRAL THERAPY: A CASE STUDY IN BAHIR DAR . (Thesis). Addis Ababa University. Retrieved from http://etd.aau.edu.et/dspace/handle/123456789/225

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Habtamu, Atnafu. “SURVIVAL TIME OF HIV-INFECTED CHILDREN UNDER 15 YEARS OF AGE AFTER INITIATION OF ANTIRETROVIRAL THERAPY: A CASE STUDY IN BAHIR DAR .” 2013. Thesis, Addis Ababa University. Accessed February 27, 2021. http://etd.aau.edu.et/dspace/handle/123456789/225.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Habtamu, Atnafu. “SURVIVAL TIME OF HIV-INFECTED CHILDREN UNDER 15 YEARS OF AGE AFTER INITIATION OF ANTIRETROVIRAL THERAPY: A CASE STUDY IN BAHIR DAR .” 2013. Web. 27 Feb 2021.

Vancouver:

Habtamu A. SURVIVAL TIME OF HIV-INFECTED CHILDREN UNDER 15 YEARS OF AGE AFTER INITIATION OF ANTIRETROVIRAL THERAPY: A CASE STUDY IN BAHIR DAR . [Internet] [Thesis]. Addis Ababa University; 2013. [cited 2021 Feb 27]. Available from: http://etd.aau.edu.et/dspace/handle/123456789/225.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Habtamu A. SURVIVAL TIME OF HIV-INFECTED CHILDREN UNDER 15 YEARS OF AGE AFTER INITIATION OF ANTIRETROVIRAL THERAPY: A CASE STUDY IN BAHIR DAR . [Thesis]. Addis Ababa University; 2013. Available from: http://etd.aau.edu.et/dspace/handle/123456789/225

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Virginia Commonwealth University

7. Laserna, Amy. Going Places.

Degree: Master of Interdisciplinary Studies, Interdisciplinary Studies, 2011, Virginia Commonwealth University

URL: https://doi.org/10.25772/N2DX-SQ28 ; https://scholarscompass.vcu.edu/etd/2358

► Artist Statement I forget my keys and usually misplace my telephone but I know exactly where my camera is at any given moment. I capture… (more)

Subjects/Keywords: Art

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APA (6^th Edition):

Laserna, A. (2011). Going Places. (Thesis). Virginia Commonwealth University. Retrieved from https://doi.org/10.25772/N2DX-SQ28 ; https://scholarscompass.vcu.edu/etd/2358

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Laserna, Amy. “Going Places.” 2011. Thesis, Virginia Commonwealth University. Accessed February 27, 2021. https://doi.org/10.25772/N2DX-SQ28 ; https://scholarscompass.vcu.edu/etd/2358.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Laserna, Amy. “Going Places.” 2011. Web. 27 Feb 2021.

Vancouver:

Laserna A. Going Places. [Internet] [Thesis]. Virginia Commonwealth University; 2011. [cited 2021 Feb 27]. Available from: https://doi.org/10.25772/N2DX-SQ28 ; https://scholarscompass.vcu.edu/etd/2358.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Laserna A. Going Places. [Thesis]. Virginia Commonwealth University; 2011. Available from: https://doi.org/10.25772/N2DX-SQ28 ; https://scholarscompass.vcu.edu/etd/2358

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Virginia Commonwealth University

8. Floyd, Tiffany. Mental Space.

Degree: Master of Interdisciplinary Studies, Interdisciplinary Studies, 2012, Virginia Commonwealth University

URL: https://doi.org/10.25772/YZ1V-MQ07 ; https://scholarscompass.vcu.edu/etd/2674

► I create process-oriented, mixed media work in an intuitive manner. I develop compositions by choosing from a wide range of materials and media. I have… (more)

Subjects/Keywords: Art

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APA (6^th Edition):

Floyd, T. (2012). Mental Space. (Thesis). Virginia Commonwealth University. Retrieved from https://doi.org/10.25772/YZ1V-MQ07 ; https://scholarscompass.vcu.edu/etd/2674

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Floyd, Tiffany. “Mental Space.” 2012. Thesis, Virginia Commonwealth University. Accessed February 27, 2021. https://doi.org/10.25772/YZ1V-MQ07 ; https://scholarscompass.vcu.edu/etd/2674.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Floyd, Tiffany. “Mental Space.” 2012. Web. 27 Feb 2021.

Vancouver:

Floyd T. Mental Space. [Internet] [Thesis]. Virginia Commonwealth University; 2012. [cited 2021 Feb 27]. Available from: https://doi.org/10.25772/YZ1V-MQ07 ; https://scholarscompass.vcu.edu/etd/2674.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Floyd T. Mental Space. [Thesis]. Virginia Commonwealth University; 2012. Available from: https://doi.org/10.25772/YZ1V-MQ07 ; https://scholarscompass.vcu.edu/etd/2674

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Columbia University

9. Vallye, Anna. Design and the Politics of Knowledge in America, 1937-1967: Walter Gropius, Gyorgy Kepes.

Degree: 2011, Columbia University

URL: https://doi.org/10.7916/D883401H

► Using the American careers of Walter Gropius and Gyorgy Kepes as case studies, this dissertation addresses the intersection of art and architecture with the reciprocal… (more)

▼ Using the American careers of Walter Gropius and Gyorgy Kepes as case studies, this dissertation addresses the intersection of art and architecture with the reciprocal politics of knowledge production and state formation in the mid-twentieth century United States. Inasmuch as the careers of Gropius and Kepes – wartime émigrés from Germany and Hungary, respectively – retrace the narrative of importation and assimilation linking interwar European modernism and its post-World War Two American legacies, this project also implicates that larger narrative and its constructions. Avant-garde practices in the Weimar Republic orbit advanced a model of design as a practice of knowledge, ideation or "expertise," which found fertile ground in the new political conditions of postwar America. The intersection of design practices with practices of knowledge production reconfigured design from material craftsmanship or artistic invention to a fluid set of competences and techniques oriented towards establishing new cultural, political, and economic agency for the designer. The constitution of this agency and its limits is the central historical and conceptual problem of this dissertation. From their strategic positions on architectural faculties at Harvard University and the Massachusetts Institute of Technology (MIT), and in their multiple roles as administrators, educators, writers, and designers, Gropius and Kepes both responded to and shaped several emergent discourses on knowledge that traversed the academy, the federal government, the design professions, and the wider political and intellectual life of the nation: the discourse of economic "stimulus" that posited the intersection of knowledge and legislative practices and their combined agency in the social body; the discourse of planning that charted the intervention of the "managed economy" regime across the nation's urban fabric; the discourse of the creative mind that posited knowledge as a key economic and political resource; and finally, the discourse of instrumentality that defined the political agency of knowledge-production within the postwar research university. Among the events leading Gropius and Kepes to confront those discourses, as chronicled in this dissertation, were the wartime administrative reorganization of the Harvard Graduate School of Design, the establishment of the Carpenter Center for the Visual Arts at Harvard and the Center for Advanced Visual Studies at MIT, and postwar curricular reform at MIT at large. In each of those instances, art and architecture emulated the disciplinary practices of knowledge production: research, education, methodology, collaboration. But more importantly, the disciplines of design adopted and elaborated in their own terms the ends of those organized knowledge practices in the promotion of unpredictability and innovation, necessitating in turn the curbing of controls and the circumscription of agency. The pursuit of this mode of practice, characterized by internal delimitation, situated design within an emergent political…

Subjects/Keywords: Art

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APA (6^th Edition):

Vallye, A. (2011). Design and the Politics of Knowledge in America, 1937-1967: Walter Gropius, Gyorgy Kepes. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D883401H

Chicago Manual of Style (16^th Edition):

Vallye, Anna. “Design and the Politics of Knowledge in America, 1937-1967: Walter Gropius, Gyorgy Kepes.” 2011. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D883401H.

MLA Handbook (7^th Edition):

Vallye, Anna. “Design and the Politics of Knowledge in America, 1937-1967: Walter Gropius, Gyorgy Kepes.” 2011. Web. 27 Feb 2021.

Vancouver:

Vallye A. Design and the Politics of Knowledge in America, 1937-1967: Walter Gropius, Gyorgy Kepes. [Internet] [Doctoral dissertation]. Columbia University; 2011. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D883401H.

Council of Science Editors:

Vallye A. Design and the Politics of Knowledge in America, 1937-1967: Walter Gropius, Gyorgy Kepes. [Doctoral Dissertation]. Columbia University; 2011. Available from: https://doi.org/10.7916/D883401H

Columbia University

10. Narath, Albert. The Baroque Effect: Architecture and Art History in Berlin, 1886-1900.

Degree: 2011, Columbia University

URL: https://doi.org/10.7916/D80K2GJM

► This dissertation explores the rich interplay between architecture and art historical research that emerged in Germany in the final decades of the nineteenth century through… (more)

Subjects/Keywords: Art

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APA (6^th Edition):

Narath, A. (2011). The Baroque Effect: Architecture and Art History in Berlin, 1886-1900. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D80K2GJM

Chicago Manual of Style (16^th Edition):

Narath, Albert. “The Baroque Effect: Architecture and Art History in Berlin, 1886-1900.” 2011. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D80K2GJM.

MLA Handbook (7^th Edition):

Narath, Albert. “The Baroque Effect: Architecture and Art History in Berlin, 1886-1900.” 2011. Web. 27 Feb 2021.

Vancouver:

Narath A. The Baroque Effect: Architecture and Art History in Berlin, 1886-1900. [Internet] [Doctoral dissertation]. Columbia University; 2011. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D80K2GJM.

Council of Science Editors:

Narath A. The Baroque Effect: Architecture and Art History in Berlin, 1886-1900. [Doctoral Dissertation]. Columbia University; 2011. Available from: https://doi.org/10.7916/D80K2GJM

Columbia University

11. Knox, Page Stevens. Scribner's Monthly 1870-1881: Illustrating a New American Art World.

Degree: 2012, Columbia University

URL: https://doi.org/10.7916/D8VT2035

► This dissertation examines the illustrations and text of Scribner's Monthly, arguably the most prominent monthly magazine during the 1870s. Initiating improvements in reproduction technology and… (more)

Subjects/Keywords: Art

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APA (6^th Edition):

Knox, P. S. (2012). Scribner's Monthly 1870-1881: Illustrating a New American Art World. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8VT2035

Chicago Manual of Style (16^th Edition):

Knox, Page Stevens. “Scribner's Monthly 1870-1881: Illustrating a New American Art World.” 2012. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D8VT2035.

MLA Handbook (7^th Edition):

Knox, Page Stevens. “Scribner's Monthly 1870-1881: Illustrating a New American Art World.” 2012. Web. 27 Feb 2021.

Vancouver:

Knox PS. Scribner's Monthly 1870-1881: Illustrating a New American Art World. [Internet] [Doctoral dissertation]. Columbia University; 2012. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D8VT2035.

Council of Science Editors:

Knox PS. Scribner's Monthly 1870-1881: Illustrating a New American Art World. [Doctoral Dissertation]. Columbia University; 2012. Available from: https://doi.org/10.7916/D8VT2035

Columbia University

12. Barry, Fabio. Painting in Stone: The Symbolism of Colored Marbles in the Visual Arts and Literature from Antiquity until the Enlightenment.

Degree: 2011, Columbia University

URL: https://doi.org/10.7916/D85D901K

► Colored marble has been used throughout the Mediterranean as a building material, architectural veneer, sculptural material, even a support for painting since at least the… (more)

Subjects/Keywords: Art

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APA (6^th Edition):

Barry, F. (2011). Painting in Stone: The Symbolism of Colored Marbles in the Visual Arts and Literature from Antiquity until the Enlightenment. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D85D901K

Chicago Manual of Style (16^th Edition):

Barry, Fabio. “Painting in Stone: The Symbolism of Colored Marbles in the Visual Arts and Literature from Antiquity until the Enlightenment.” 2011. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D85D901K.

MLA Handbook (7^th Edition):

Barry, Fabio. “Painting in Stone: The Symbolism of Colored Marbles in the Visual Arts and Literature from Antiquity until the Enlightenment.” 2011. Web. 27 Feb 2021.

Vancouver:

Barry F. Painting in Stone: The Symbolism of Colored Marbles in the Visual Arts and Literature from Antiquity until the Enlightenment. [Internet] [Doctoral dissertation]. Columbia University; 2011. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D85D901K.

Council of Science Editors:

Barry F. Painting in Stone: The Symbolism of Colored Marbles in the Visual Arts and Literature from Antiquity until the Enlightenment. [Doctoral Dissertation]. Columbia University; 2011. Available from: https://doi.org/10.7916/D85D901K

Columbia University

13. Rossi, Nassim Ellie. Italian Renaissance Depictions of the Ottoman Sultan: Nuances in the Function of Early Modern Italian Portraiture.

Degree: 2013, Columbia University

URL: https://doi.org/10.7916/D8KS6ZSD

► This project was inspired in a fundamental way by an interest in the function of Italian Renaissance portraiture. The essential question is concerned with the… (more)

▼ This project was inspired in a fundamental way by an interest in the function of Italian Renaissance portraiture. The essential question is concerned with the expanded functional range of portraiture within the context of early modern cross-cultural engagement between traditional foes. The dissertation casts a spotlight on the relationship between Italy and Ottoman Turkey, the most powerful and prominent of its contemporary Near Eastern counterparts. The first chapter explores the influence of the diplomatic culture particular to Venice on the artistic output – including drawings, a painted portrait and a portrait medal – resulting from the late fifteenth-century journey of the city's famous son Gentile Bellini to the Istanbul court of the Ottoman sultan Mehmed II (Mehmed the Conqueror). The representations of the Turkish ruler are discussed as objectively motivated, fact-focused diplomatic "documents" in the spirit of the singularly Venetian tradition of the relazione produced by diplomats of the city upon the completion of diplomatic missions. The second chapter explores the renowned portrait collection of the early sixteenth-century Comasque scholar Paolo Giovio. As part of his assiduously cultivated collection of images of "famous" men and women, Giovio unconventionally possessed portraits of both deceased and contemporary Near Eastern figures. Among these were eleven images of Ottoman sultans. Although the influence of traditional motivations for collecting portraits is in evidence, the collection as a whole can also be fruitfully explored as a reflection of the scholar's lifelong interest in history and its chronicling. The unconventional inclusion of Near Eastern and other foreign figures suggests his preoccupation with global interconnection. His carefully crafted textual treatment of the figures – he eventually composed brief eulogies to hang beneath each of the portraits – suggests the precariousness of attempting to handle neutrally the Near Eastern "other." The images in conjunction with the text operate as an innovatively bold and frank commentary on contemporary history. A century separates Gentile's execution of Mehmed II's portrait and a series of portraits of the house of Osman produced by the workshop of another Venetian master, Paolo Veronese, through the indirect commission of the sultan Murad III (1574-1595) and his grand vizier Sokollu Mehmed Pasha. The inspiration for the third chapter, these fourteen portraits, produced, significantly, in the wake of the momentous Battle of Lepanto, are singular within the tradition of sultan portraiture for the degree to which the figures have been animated and humanized. Even allowing for the shift in stylistic trends from the end of the fifteenth to the end of the sixteenth century, I suggest that the psychological impact of the Battle of Lepanto and a specifically Venetian brand of civic self-consciousness played a heightened role in the formal solution adopted for the commission. "Veronese's" approach to the depiction of the Ottoman sultans shifted…

Subjects/Keywords: Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Rossi, N. E. (2013). Italian Renaissance Depictions of the Ottoman Sultan: Nuances in the Function of Early Modern Italian Portraiture. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8KS6ZSD

Chicago Manual of Style (16^th Edition):

Rossi, Nassim Ellie. “Italian Renaissance Depictions of the Ottoman Sultan: Nuances in the Function of Early Modern Italian Portraiture.” 2013. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D8KS6ZSD.

MLA Handbook (7^th Edition):

Rossi, Nassim Ellie. “Italian Renaissance Depictions of the Ottoman Sultan: Nuances in the Function of Early Modern Italian Portraiture.” 2013. Web. 27 Feb 2021.

Vancouver:

Rossi NE. Italian Renaissance Depictions of the Ottoman Sultan: Nuances in the Function of Early Modern Italian Portraiture. [Internet] [Doctoral dissertation]. Columbia University; 2013. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D8KS6ZSD.

Council of Science Editors:

Rossi NE. Italian Renaissance Depictions of the Ottoman Sultan: Nuances in the Function of Early Modern Italian Portraiture. [Doctoral Dissertation]. Columbia University; 2013. Available from: https://doi.org/10.7916/D8KS6ZSD

Columbia University

14. Packard, Arianna. The Catafalque of Paul V: Architecture, Sculpture and Iconography.

Degree: 2013, Columbia University

URL: https://doi.org/10.7916/D8BC45ST

► This dissertation examines the catafalque erected for the reburial of Pope Paul V in S. Maria Maggiore on January 30, 1622. The catafalque, commissioned by… (more)

▼ This dissertation examines the catafalque erected for the reburial of Pope Paul V in S. Maria Maggiore on January 30, 1622. The catafalque, commissioned by the pope's nephew Scipione Borghese, was only the second catafalque ever built for a pope. It was a large tempietto type structure, fashioned of wood and plaster and covered with black cloth and candles. It was constructed by Sergio Venturi and Giovanni Battista Soria and adorned with thirty-six sculptures by Gian Lorenzo Bernini. These details are known to us through a funeral book, the Breve Racconto della trasportatione del corpo di Papa Paolo V della Basilica di S. Pietro a' quella di S. Maria Maggiore, Con Oratione recita nelle sue Esequie, and alcuni versi posti nell'Apparato , written by the poet Lelio Guidiccioni which contains extensive descriptions of the monument and obsequies as well as eighteen engraved plates of its architecture and sculpture. Further details are found in the eye witness accounts of Giacinto Gigli and Paolo Alaleone as well as payment records preserved in the Borghese Archives. These sources allow us to reconstruct the appearance and iconography of Paul's catafalque. Meaning is created through formal choices in the architectural design of the catafalque and the sixteen personified virtues which adorn it. While the iconography is not explicitly dealt with in the Breve Racconto, the visual clues are reinforced by poetry and scriptural quotations which appear both on the actual monument and in the funeral book. The iconography of the catafalque stresses the Borghese family's Romanitas and underscores the importance of Paul's patronage in both purifying the Roman Church and ushering in a new Golden Age. This dissertation begins by investigating the context of Paul's reburial. Chapter one looks the protocol surrounding the death and burial of seicento popes. It examines how Paul's obsequies fit into this tradition and where his catafalque sits in the trajectory of the development and use of catafalques for ecclesiastical funerals. Chapter two looks at the Breve Racconto and evaluates the accuracy of both the text and its author. Particular attention is paid to Guidiccioni's intellectual pursuits and his relationship with both Scipione Borghese and Bernini. Chapter two is devoted to Scipione Borghese and his patronage of art and architecture. Chapter three rehearses the history of the Borghese family, Paul's accomplishments as pope and his patronage. It also considers his presentation in contemporary panegyric. Chapter four outlines the appearance of the catafalque. Its form echoes both Imperial mausolea and early Christian martyria. Through this formal mimicry the very architecture becomes a metonym for the Pauline resurgence of Rome; it indicates Paul's physical and spiritual restoration of the early Church and also the new Golden Age ushered in by Borghese munificence and patronage. Chapter five tackles the question of the catafalque's authorship. It examines the involvement of Venturi, Soria and Bernini, attempting to reconcile the…

Subjects/Keywords: Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Packard, A. (2013). The Catafalque of Paul V: Architecture, Sculpture and Iconography. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8BC45ST

Chicago Manual of Style (16^th Edition):

Packard, Arianna. “The Catafalque of Paul V: Architecture, Sculpture and Iconography.” 2013. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D8BC45ST.

MLA Handbook (7^th Edition):

Packard, Arianna. “The Catafalque of Paul V: Architecture, Sculpture and Iconography.” 2013. Web. 27 Feb 2021.

Vancouver:

Packard A. The Catafalque of Paul V: Architecture, Sculpture and Iconography. [Internet] [Doctoral dissertation]. Columbia University; 2013. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D8BC45ST.

Council of Science Editors:

Packard A. The Catafalque of Paul V: Architecture, Sculpture and Iconography. [Doctoral Dissertation]. Columbia University; 2013. Available from: https://doi.org/10.7916/D8BC45ST

Columbia University

15. Cole, Susanna D. L. Space into Time: English Canals and English Landscape Painting 1760-1835.

Degree: 2013, Columbia University

URL: https://doi.org/10.7916/D8NS0T7X

► England's canal network, critical to the nation's predominance in the development of modern industry, goes largely unnoticed today except by some scholars of transportation. As… (more)

▼ England's canal network, critical to the nation's predominance in the development of modern industry, goes largely unnoticed today except by some scholars of transportation. As I suggest in my introduction, one of the reasons may be that since the Second World War the canals have been cleaned up and turned into an attraction for boaters and tourists. With their brightly painted cabins occupied by families on vacation, the boats, now motorized, glide slowly and silently past the bucolic banks of the canals. These are, in appearance, as originally proposed by the development companies and drawn and engraved for the newspapers: beautiful country spaces to be admired and enjoyed by the public. Another reason may be the exertion of a willful nostalgia: because the comparatively slow-moving canals can appear pre-industrial we choose to think of them that way. These choices have made the English canal system part of a pre-modern England, imagined just as the canals were being built. That England would always stand as "a living emblem" of itself remained for the most part uncontested (putting Cromwell to one side) until the construction of the canals. No narrative was required to explain the meaning of the countryside of estates and villages: they were "taken as a given" and had "no apparent origins". The canals visibly introduced time into what was perceived as an unchanging landscape. Time entered not only in the speed of transport on the canals but also in the factories that ran by the clock and the canals that ran by timetable. The geological layers unearthed in the digging of the canals revealed the passage of eons of time and the instability of the earth itself. Time entered in the movement of people and goods in bustling new towns that were in the interior of the country, made prosperous in part by the access the canals gave them to the seas. There was enthusiasm for the progress of English industry and science, a sense of national pride, and great expectations for the wealth of the country. There was a sense that if the old landscape and the new could not be reconciled, the identity of the nation would be lost. The general ambivalence about the changes the canals would bring began at the top with the landed nobility who first financed and built them. Their desire to extract wealth from their own lands overcame their fear of a dynamic population. Gainsborough, in his Cottage Door paintings, appealed to his audience's sense of nostalgia for the passing of the timeless English landscape at the very moment that the canals were being built and many of them were investing in them. Ambivalence is also present in Constable's attempts to cope with landscapes expressive of both time and space. The desire to return to an almost mythic prior time is palpable and his attempt to leap into the future with The Leaping Horse avoids the issue in the other direction. The heyday of canals, from 1765 to 1835, is the interstice between the early days of modernity in England and modern England in its full-blown glory. It is also a curious…

Subjects/Keywords: Art

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APA (6^th Edition):

Cole, S. D. L. (2013). Space into Time: English Canals and English Landscape Painting 1760-1835. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8NS0T7X

Chicago Manual of Style (16^th Edition):

Cole, Susanna D L. “Space into Time: English Canals and English Landscape Painting 1760-1835.” 2013. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D8NS0T7X.

MLA Handbook (7^th Edition):

Cole, Susanna D L. “Space into Time: English Canals and English Landscape Painting 1760-1835.” 2013. Web. 27 Feb 2021.

Vancouver:

Cole SDL. Space into Time: English Canals and English Landscape Painting 1760-1835. [Internet] [Doctoral dissertation]. Columbia University; 2013. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D8NS0T7X.

Council of Science Editors:

Cole SDL. Space into Time: English Canals and English Landscape Painting 1760-1835. [Doctoral Dissertation]. Columbia University; 2013. Available from: https://doi.org/10.7916/D8NS0T7X

Columbia University

16. Benzel, Kim. Pu-abi's Adornment for the Afterlife: Materials and Technologies of Jewelry at Ur in Mesopotamia.

Degree: 2013, Columbia University

URL: https://doi.org/10.7916/D8W66SZH

► This dissertation investigates one of the most important archaeological discoveries of the 20th century - the jewelry belonging to a female named Pu-abi buried in… (more)

Subjects/Keywords: Art

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APA (6^th Edition):

Benzel, K. (2013). Pu-abi's Adornment for the Afterlife: Materials and Technologies of Jewelry at Ur in Mesopotamia. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8W66SZH

Chicago Manual of Style (16^th Edition):

Benzel, Kim. “Pu-abi's Adornment for the Afterlife: Materials and Technologies of Jewelry at Ur in Mesopotamia.” 2013. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D8W66SZH.

MLA Handbook (7^th Edition):

Benzel, Kim. “Pu-abi's Adornment for the Afterlife: Materials and Technologies of Jewelry at Ur in Mesopotamia.” 2013. Web. 27 Feb 2021.

Vancouver:

Benzel K. Pu-abi's Adornment for the Afterlife: Materials and Technologies of Jewelry at Ur in Mesopotamia. [Internet] [Doctoral dissertation]. Columbia University; 2013. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D8W66SZH.

Council of Science Editors:

Benzel K. Pu-abi's Adornment for the Afterlife: Materials and Technologies of Jewelry at Ur in Mesopotamia. [Doctoral Dissertation]. Columbia University; 2013. Available from: https://doi.org/10.7916/D8W66SZH

Columbia University

17. Mims, Martina. August Endell's Construction of Feeling.

Degree: 2013, Columbia University

URL: https://doi.org/10.7916/D8FT8KDS

► The German architect August Endell (1871-1925) is best known for his idiosyncratic buildings and interiors. As the first monographic study on his work in English,… (more)

▼ The German architect August Endell (1871-1925) is best known for his idiosyncratic buildings and interiors. As the first monographic study on his work in English, this dissertation uncovers the little-known design philosophy behind his works, and elucidates the intellectual origins and career of his important theory of experiential form. Endell was a polymath versed in scientific philosophy, empirical psychology, musicology and architecture. A man of extraordinary intellectual range, he saw his architectural practice as a laboratory for conducting experiments in psychology. In particular, his buildings explored architectural forms patterned on the workings of the human brain, as understood in late nineteenth century Germany. Previous studies of Endell generally have tried to situate him within one of the major German schools of thought in psychology, alternatively as a proponent of abstraction or empathy. Through detailed analyses of his built works and written texts, this dissertation argues that Endell was in fact attempting a reconciliation between abstraction and empathy, through what I have interpreted as experiential forms, namely forms drawn from collective memories, feelings, and ethical relations. Endell was an activist for architectural design driven by a "science" of consciousness, and he was convinced that built experiential forms could serve an important unifying social function, counteracting processes of social disaggregation he believed was taking place in pre-World War I Germany. Endell was discredited and ignored for much of the twentieth century, perhaps because his claims about the influence of architecture in the functioning of the human brain and sensorium, in the absence of scientific proof, seemed condemned to remain hypothetical. To re-examine his work today, when neuroscience is giving us an entirely new picture of the brain, is to recover an important chapter in the pre-history of attempts to adequate our built environment to our human condition.

Subjects/Keywords: Art

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APA (6^th Edition):

Mims, M. (2013). August Endell's Construction of Feeling. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8FT8KDS

Chicago Manual of Style (16^th Edition):

Mims, Martina. “August Endell's Construction of Feeling.” 2013. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D8FT8KDS.

MLA Handbook (7^th Edition):

Mims, Martina. “August Endell's Construction of Feeling.” 2013. Web. 27 Feb 2021.

Vancouver:

Mims M. August Endell's Construction of Feeling. [Internet] [Doctoral dissertation]. Columbia University; 2013. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D8FT8KDS.

Council of Science Editors:

Mims M. August Endell's Construction of Feeling. [Doctoral Dissertation]. Columbia University; 2013. Available from: https://doi.org/10.7916/D8FT8KDS

Columbia University

18. Chiong, Kathryn Josette. Words Matter: The Work of Lawrence Weiner.

Degree: 2013, Columbia University

URL: https://doi.org/10.7916/D8VM4KGT

► This dissertation explores the practice of contemporary artist Lawrence Weiner. From 1968 onwards, Weiner has presented his work using language and, as such, the artist… (more)

▼ This dissertation explores the practice of contemporary artist Lawrence Weiner. From 1968 onwards, Weiner has presented his work using language and, as such, the artist is historically regarded as one of the pioneering practitioners of Conceptual art. The artist himself categorically refuses that designation, preferring to focus on the material aspects of his work. Nevertheless, his oeuvre has been largely received in terms of a predominantly linguistic intervention. Craig Dworkin encapsulates this position, when in discussing the Conceptual wager of Weiner's statements he writes: "Having tested the propositions that the art object might be nominal, linguistic, invisible, and on a par with its abstract initial description, the next step was to venture that it could be dispensed with altogether." By focusing equally on the linguistic and material aspects of Weiner's practice, this dissertation argues, conversely, that Weiner's work is primarily an object strategy, and not a dematerialized linguistic presentation. The first part of this discussion deals with Weiner's ground-breaking work from the mid 1960s to the early 1970s, analyzing the full implications of Weiner's extraordinary decision to present materials through language. Close comparisons are drawn with the profoundly materialist practices of contemporary artists such as Robert Rauschenberg, Carl Andre, Richard Serra and Robert Smithson. Weiner's use of language is also distinguished from the text-based works of Conceptual artists Joseph Kosuth and Douglas Huebler, problematizing the degree to which Weiner's statements can stand as an exemplar of postmodern textuality, inasmuch as their referential content remains of primary consequence. Several chapters of the dissertation focus on drawings, and in particular the artist's notebooks, an aspect of Weiner's practice that has remained largely unstudied. Crucially, the notebooks present a model of thinking which is wholly corporeal as opposed to purely analytical. Furthermore, they raise the problem of the visual in relation to a body of work that has been credited with the suppression of a traditional (optical) aesthetic. In being conceived by the artist as "maps," Weiner's drawings also invite an analysis of spatial considerations, and are thus linked to the artist's own designation of his work, not as art in general, but specifically as sculpture. Finally, the notebooks, like Weiner's films, practically dissolve the categories of reality and fiction. Indeed, Weiner himself would insist that every presentation of his essentially "realist" work is nonetheless inherently "theatrical." One of the long-standing criticisms of Conceptual art was that while it made aspects of circulation and distribution part of the work - thereby testing the limits of institutional constraint and expanding art's potential to engage in collective reception - it failed to achieve truly democratic access, in large part by neglecting issues of desire. Thus, Conceptual art's promise of collective accessibility was purportedly…

Subjects/Keywords: Art

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APA (6^th Edition):

Chiong, K. J. (2013). Words Matter: The Work of Lawrence Weiner. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8VM4KGT

Chicago Manual of Style (16^th Edition):

Chiong, Kathryn Josette. “Words Matter: The Work of Lawrence Weiner.” 2013. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D8VM4KGT.

MLA Handbook (7^th Edition):

Chiong, Kathryn Josette. “Words Matter: The Work of Lawrence Weiner.” 2013. Web. 27 Feb 2021.

Vancouver:

Chiong KJ. Words Matter: The Work of Lawrence Weiner. [Internet] [Doctoral dissertation]. Columbia University; 2013. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D8VM4KGT.

Council of Science Editors:

Chiong KJ. Words Matter: The Work of Lawrence Weiner. [Doctoral Dissertation]. Columbia University; 2013. Available from: https://doi.org/10.7916/D8VM4KGT

Columbia University

19. Bush, Diana M. The Dialectical Object: John Heartfield 1915 - 1933.

Degree: 2013, Columbia University

URL: https://doi.org/10.7916/D80K2GXJ

► In 1933, after the election of the National Socialists in Germany, John Heartfield fled Berlin for Prague, leaving behind the significant intervention in contemporary cultural… (more)

▼ In 1933, after the election of the National Socialists in Germany, John Heartfield fled Berlin for Prague, leaving behind the significant intervention in contemporary cultural and social discourses that his photomontages for the Arbeiter-Illustrierte Zeitung comprised. While this body of work, produced from 1930, has been understood as Heartfield's master work, it has also often been understood as straightforward "popular front" propaganda and the accomplished embodiment of the "dialectical" method that were significant aspects of the cultural policy of the official left. There have been few attempts to work through the formally innovative aspects of Heartfield's particular "dialectical" method, and more broadly speaking, little critical consideration of the complex engagement of social realism that characterizes the A-I Z photomontages. Taking as a point of departure Heartfield's presence in institutional and scholarly discourses, and adopting an approach that is thematic rather than chronologically exhaustive, this dissertation investigates his collaborative engagements of performance, theatrical production, film, and the newly-emergent "photo book" to argue for a more nuanced treatment of the A-I Z photomontages than has been the case. Critical writing focused on the decade between Heartfield's Berlin Dadaist affiliations and his work for the Arbeiter-Illustrierte Zeitung has been conspicuously absent, and his work with film and theater have not been considered in relation to his photomontage practice of the later 1920s. Drawing on the theorizations of Michel Foucault and Gilles Deleuze regarding subjectivity and aesthetic engagement, the formation of cultural collectives, and processes of meaning production, this dissertation will argue that Heartfield's involvement in specifically performative cultural formations is central to understanding the advanced photomontage practice he developed, even as this orientation also rendered his intervention in the modes and institutions of cultural production incomprehensible to the various historical paradigms, left and otherwise, of modern art. In my conclusion, I draw Heartfield back into the present to consider the import and resonance of his interventions for contemporary interests and practices. Bringing recent theorizations of the public sphere in relationship to investigations of subversive subjectivities and models of meaning production formed around the "event," my dissertation argues for an expanded notion of aesthetic reception, critical realism, and "political" art.

Subjects/Keywords: Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Bush, D. M. (2013). The Dialectical Object: John Heartfield 1915 - 1933. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D80K2GXJ

Chicago Manual of Style (16^th Edition):

Bush, Diana M. “The Dialectical Object: John Heartfield 1915 - 1933.” 2013. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D80K2GXJ.

MLA Handbook (7^th Edition):

Bush, Diana M. “The Dialectical Object: John Heartfield 1915 - 1933.” 2013. Web. 27 Feb 2021.

Vancouver:

Bush DM. The Dialectical Object: John Heartfield 1915 - 1933. [Internet] [Doctoral dissertation]. Columbia University; 2013. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D80K2GXJ.

Council of Science Editors:

Bush DM. The Dialectical Object: John Heartfield 1915 - 1933. [Doctoral Dissertation]. Columbia University; 2013. Available from: https://doi.org/10.7916/D80K2GXJ

Columbia University

20. Basciano, Jessica Ruth. Architecture and Popular Religion: French Pilgrimage Churches of the Nineteenth Century.

Degree: 2012, Columbia University

URL: https://doi.org/10.7916/D86971NK

► Architecture was essential to the radical transformation of pilgrimage by the Catholic clergy in nineteenth-century France. To show how pilgrimage churches clericalized and modernized the… (more)

▼ Architecture was essential to the radical transformation of pilgrimage by the Catholic clergy in nineteenth-century France. To show how pilgrimage churches clericalized and modernized the devotions centered on sacred sites, this dissertation analyzes three important examples: Jacques-Eugène Barthélemy's Basilica of Notre-Dame de Bonsecours in Rouen (1840-44), Hippolyte Durand's Basilica of the Immaculée-Conception at Lourdes (1862-72), and Victor Laloux's Basilica of Saint-Martin in Tours (1886-1925). In the process, this study reveals the Catholic context of nineteenth-century French ecclesiastical architecture. Pilgrimage churches were paid for by the private donations of Catholics and their construction was overseen by priests: they were less determined by the government architectural bureaucracy than other churches. Notre-Dame de Bonsecours is a landmark of the beginning of the Gothic and Marian revivals during the July Monarchy. Influenced by Catholic authors and architects, the parish priest chose to give the basilica a thirteenth-century style, and a coordinated decoration that put Bonsecours at the forefront of the regeneration of religious art. In the midst of rapid industrialization, he and the donors sought to recreate an ideal medieval social order structured according to Christian principles. The Basilica of the Immaculée-Conception demonstrates the endurance of Catholic theories of the Gothic in the Second Empire, as well as a new preoccupation with economical church construction. The basilica evoked both twelfth-century churches and nineteenth-century mass production, thereby complementing the clergy's promotion of the pilgrimage to Lourdes as a continuation of medieval traditions and a modern spectacle. Erected above the grotto of the apparitions, the basilica reinforced the dogma of the Immaculate Conception and its ultramontane and legitimist implications. In contrast, the Basilica of Saint-Martin is proof of the influence on the clergy of Christian archaeology. A liberal bishop chose to evoke the fifth-century church that had stood on the site of Martin's tomb, in opposition to an intransigent lay group that wanted to rebuild the eleventh-century church that had stood there. While the lay project expressed a counter-revolutionary narrative of expiation, the built church connoted early Christianity and reflected a shift among the faithful towards accepting the Republic. This dissertation argues that, owing to their distinctive patronage model, pilgrimage churches expressed more clearly than other churches the evolving politics of French Catholicism.

Subjects/Keywords: Art

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APA (6^th Edition):

Basciano, J. R. (2012). Architecture and Popular Religion: French Pilgrimage Churches of the Nineteenth Century. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D86971NK

Chicago Manual of Style (16^th Edition):

Basciano, Jessica Ruth. “Architecture and Popular Religion: French Pilgrimage Churches of the Nineteenth Century.” 2012. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D86971NK.

MLA Handbook (7^th Edition):

Basciano, Jessica Ruth. “Architecture and Popular Religion: French Pilgrimage Churches of the Nineteenth Century.” 2012. Web. 27 Feb 2021.

Vancouver:

Basciano JR. Architecture and Popular Religion: French Pilgrimage Churches of the Nineteenth Century. [Internet] [Doctoral dissertation]. Columbia University; 2012. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D86971NK.

Council of Science Editors:

Basciano JR. Architecture and Popular Religion: French Pilgrimage Churches of the Nineteenth Century. [Doctoral Dissertation]. Columbia University; 2012. Available from: https://doi.org/10.7916/D86971NK

Columbia University

21. Watson, Mark James. Diplomatic Aesthetics: Globalization and Contemporary Native Art.

Degree: 2012, Columbia University

URL: https://doi.org/10.7916/D8XS5SG1

► This dissertation examines contemporary Native American art after postmodernism. It argues that this art can best be understood as an agent within the global indigenous… (more)

▼ This dissertation examines contemporary Native American art after postmodernism. It argues that this art can best be understood as an agent within the global indigenous rights movement. Employing an object-based methodology, it shows that three particularly important works by the artists Jimmie Durham, James Luna, and Alan Michelson recover histories and strategies of Native cultural diplomacy as a means of challenging cultural erasure and political domination. I suggest this can be understood as a Native rights version of what Hal Foster calls the "archival impulse" in contemporary art after postmodernism. Diplomatic in effect, this Native art engages international viewers in an argument about justice, challenging a largely non-native audience to recognize the ethical legitimacy of Native empowerment and the contemporary relevance of indigenous political and cultural models. These models, which I put in dialogue with the indigenist philosophy of Taiaiake Alfred, the recent writings of art critics like Foster, and interviews with each of the artists, are presented as alternative models for all peoples. Against what Alfred calls the "culture war" of contemporary globalization – which aims to extinguish indigenous cultural frameworks once and for all – this art establishes a "regime of respect" among peoples with different visions for their respective futures. In so doing, it asserts balance and solidarity against the explosion of inequity within both the contemporary art world and the neoimperial lifeworlds of globalization. I organize my research into four chapters. The first chapter unpacks the uncertain place of Native art within postmodern and globalization discourse developed largely without reference to indigenous rights. It proposes an alternative framework of indigenist "diplomatic aesthetics" for understanding the way contemporary Native art globalizes indigenous ideals of international relations. The subsequent chapters examine three twenty-first century artworks, each of which recovers a diplomatic model and cultural framework specific from the history of the artist's tribe. These are cases studies of diplomatic aesthetics. My close analysis of specific art works, their multiple historical and cultural imbrications, and their global context and agency is meant to counter the limited engagement with specific art works in existing context-driven scholarship. It also counters the postmodern framing of Native art, which problematically emphasizes "identity" and "representation" over the politics of sovereignty, indigenous intellectual paradigms, or the global agency of Native art and ideas.

Subjects/Keywords: Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Watson, M. J. (2012). Diplomatic Aesthetics: Globalization and Contemporary Native Art. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8XS5SG1

Chicago Manual of Style (16^th Edition):

Watson, Mark James. “Diplomatic Aesthetics: Globalization and Contemporary Native Art.” 2012. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D8XS5SG1.

MLA Handbook (7^th Edition):

Watson, Mark James. “Diplomatic Aesthetics: Globalization and Contemporary Native Art.” 2012. Web. 27 Feb 2021.

Vancouver:

Watson MJ. Diplomatic Aesthetics: Globalization and Contemporary Native Art. [Internet] [Doctoral dissertation]. Columbia University; 2012. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D8XS5SG1.

Council of Science Editors:

Watson MJ. Diplomatic Aesthetics: Globalization and Contemporary Native Art. [Doctoral Dissertation]. Columbia University; 2012. Available from: https://doi.org/10.7916/D8XS5SG1

Columbia University

22. Finegold, Andrew. Dramatic Renditions: Battle Murals and the Struggle for Elite Legitimacy in Epiclassic Mesoamerica.

Degree: 2012, Columbia University

URL: https://doi.org/10.7916/D8P848ZC

► Martial and bellicose imagery, as it commonly occurred in Mesoamerican monumental art, was almost universally reductive and allusive. It can be divided into a few… (more)

▼ Martial and bellicose imagery, as it commonly occurred in Mesoamerican monumental art, was almost universally reductive and allusive. It can be divided into a few major categories that are notable for their stability over two millennia and across the distinct, yet interrelated cultures of the region: emblematic motifs, solitary or processional warrior figures, individual debased captive figures, and captor-captive pairs. Depictions of actual battles, however, were notably rare. The handful of surviving examples - murals from the sites of Bonampak, Cacaxtla, Chichén Itzá, and Mulchic - are among the masterpieces of Precolumbian painting. The unprecedented dramatic complexity and heightened narrativity of these battle scenes - qualities produced by the presence of pictorial elements including action, specificity, variation, integration, and naturalism - contribute to a marked difference in their implicit content compared with other, more iconic artworks referencing warfare and militarism. Although these paintings are found at geographically distant sites and are stylistically unrelated, their approximate contemporaneity suggests that the brief, unprecedented appearance of battle murals in Mesoamerica was directly related to the widespread socio-political upheavals associated with the decline of Teotihuacan and the Classic Maya collapse during the Epiclassic period (c. 650 - 1050 A.D.), the time at which they were created. Their direct showcasing of feats of bravery and military prowess - both those of the rulers themselves and of their numerous allies and supporters - indicates a significant shift in the way legitimized authority was conceived during this period. Additionally, the radically different conception of temporality underlying these images points to an erosion in the unique status claimed by rulers with regard to the marking, and perhaps even the production of time. The fact that such violent tableaus were no longer produced during the documentedly militaristic Postclassic period reaffirms that, rather than directly reflecting social realities, monumental art projects a constructed image of legitimized authority. Nevertheless, an analysis of the functional characteristics of these artworks and the reconstruction of their implicit messages provide evidence with regard to the bases upon which rulership was conceived to be established during the Epiclassic.

Subjects/Keywords: Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Finegold, A. (2012). Dramatic Renditions: Battle Murals and the Struggle for Elite Legitimacy in Epiclassic Mesoamerica. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8P848ZC

Chicago Manual of Style (16^th Edition):

Finegold, Andrew. “Dramatic Renditions: Battle Murals and the Struggle for Elite Legitimacy in Epiclassic Mesoamerica.” 2012. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D8P848ZC.

MLA Handbook (7^th Edition):

Finegold, Andrew. “Dramatic Renditions: Battle Murals and the Struggle for Elite Legitimacy in Epiclassic Mesoamerica.” 2012. Web. 27 Feb 2021.

Vancouver:

Finegold A. Dramatic Renditions: Battle Murals and the Struggle for Elite Legitimacy in Epiclassic Mesoamerica. [Internet] [Doctoral dissertation]. Columbia University; 2012. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D8P848ZC.

Council of Science Editors:

Finegold A. Dramatic Renditions: Battle Murals and the Struggle for Elite Legitimacy in Epiclassic Mesoamerica. [Doctoral Dissertation]. Columbia University; 2012. Available from: https://doi.org/10.7916/D8P848ZC

Columbia University

23. Moynihan, Kim-Ly Thi. Comedy, Science, and the Reform of Description in Lombard Painting of the Late Renaissance: Arcimboldo, Vincenzo Campi, and Bartolomeo Passerotti.

Degree: 2012, Columbia University

URL: https://doi.org/10.7916/D86T0JRN

► This dissertation investigates the appropriation of natural history and vernacular comedy into the descriptive secular paintings of three Lombard artists: Giuseppe Arcimboldo, Vincenzo Campi, and… (more)

▼ This dissertation investigates the appropriation of natural history and vernacular comedy into the descriptive secular paintings of three Lombard artists: Giuseppe Arcimboldo, Vincenzo Campi, and Bartolomeo Passerotti. Their paintings feature, on the one hand, highly veristic portraits of flora and fauna and, on the other, comic elements such as coarse subject matter, erotic puns, and parody – a combination that demands further consideration. Since "counterfeiting" nature or imitating it "exactly as it appears" was often evaluated as a dubious or ambivalent pictorial practice in the theoretical literature of the Renaissance (especially in the later Cinquecento), the incorporation of descriptive techniques, vocabularies, and values from critically legitimate sources – that is, from natural history, a burgeoning scientific discipline, and from vernacular comedy, an established literary genre – into a descriptive aesthetic was particularly advantageous for these three artists. Their shrewd use of science and comedy as providing the intellectual foundation for descriptive painting is interpreted, therefore, as part of an aesthetic "reform" of description and its critical reputation. Considering that all three artists were from the historic Lombard region – known for its veristic approach to pictorial representation – their rehabilitation of descriptive painting is also considered in relation to cultural debates in sixteenth-century Italy, the most prevalent being the defense of regional dialects and traditions against the hegemony of the Tuscan language and Tuscan-Roman tradition. Here, vernacular comedy provides the clearest inspiration since comic writers like Ruzzante (Angelo Beolco) and Pietro Aretino were explicit in their dismissal of literary Tuscan as the standard language for poetic expression. The reform of descriptive painting in Lombardy, therefore, is considered as polemical in nature. Chapter One establishes the foundation of the dissertation by examining the evaluation of description in Renaissance art theory from Alberti to Zuccaro. Chapter Two examines Arcimboldo's deep engagement with natural history during his employment for the Habsburg emperors. It considers how his "composite heads" – the result of a paradoxical combination of empirical "truth" and inventive artifice – manipulate techniques and values from natural history to meet the creative and inventive demands of art. The humor in Arcimboldo's composite heads is identified and considered in relation to the learned tradition of burlesque poetry. Chapter Three examines Vincenzo Campi's adoption of the descriptive language and themes from vernacular comedy, in particular the rustic farces of Ruzzante, into his secular paintings of peasants selling fruit, fish, and fowl. The second part of the chapter investigates how Campi's veristic depictions of "still-life" conform to certain conventions of natural history illustration and display: clarity, variety, and order. In Chapter Four, Passerotti's problematic secular paintings are interpreted through the lens…

Subjects/Keywords: Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Moynihan, K. T. (2012). Comedy, Science, and the Reform of Description in Lombard Painting of the Late Renaissance: Arcimboldo, Vincenzo Campi, and Bartolomeo Passerotti. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D86T0JRN

Chicago Manual of Style (16^th Edition):

Moynihan, Kim-Ly Thi. “Comedy, Science, and the Reform of Description in Lombard Painting of the Late Renaissance: Arcimboldo, Vincenzo Campi, and Bartolomeo Passerotti.” 2012. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D86T0JRN.

MLA Handbook (7^th Edition):

Moynihan, Kim-Ly Thi. “Comedy, Science, and the Reform of Description in Lombard Painting of the Late Renaissance: Arcimboldo, Vincenzo Campi, and Bartolomeo Passerotti.” 2012. Web. 27 Feb 2021.

Vancouver:

Moynihan KT. Comedy, Science, and the Reform of Description in Lombard Painting of the Late Renaissance: Arcimboldo, Vincenzo Campi, and Bartolomeo Passerotti. [Internet] [Doctoral dissertation]. Columbia University; 2012. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D86T0JRN.

Council of Science Editors:

Moynihan KT. Comedy, Science, and the Reform of Description in Lombard Painting of the Late Renaissance: Arcimboldo, Vincenzo Campi, and Bartolomeo Passerotti. [Doctoral Dissertation]. Columbia University; 2012. Available from: https://doi.org/10.7916/D86T0JRN

Columbia University

24. McStay, Heather O'Leary. "Viva Bacco e viva Amore": Bacchic Imagery in the Renaissance.

Degree: 2014, Columbia University

URL: https://doi.org/10.7916/D88913ZS

► The fifteenth century in Italy is often studied for its revival of antiquity, but looking at this revival through the particular lens of Bacchus and… (more)

▼ The fifteenth century in Italy is often studied for its revival of antiquity, but looking at this revival through the particular lens of Bacchus and his band of ecstatic followers reveals a unique view of the complex texture of the intellectual, cultural, and artistic fabric of the Renaissance. Although Bacchus, as a god of wine and revelry, was not an obvious role model for Renaissance patrons, he appeared nonetheless in drawings, paintings, engravings, plaquettes, and sculpture, and in marriage parades, banquet entertainments, plays, and songs. This dissertation examines how and why such a god and his wild cohort could acquire such a broad appeal and what they signified to their contemporary audiences. Stepping off from Aby Warburg's insight that emotionality is a third vector of historical measurement in addition to form and content, we first explore what it was in ancient Bacchic art that appealed to Renaissance artists striving to reinvigorate their work, finding that they were drawn to its expressive realism, shown with vigorous movement and figural variety, as well as its portrayal of lassitude and voluptuous pleasure. We look also at shifts in ideas about invention, imagination, composition, and imitation, and their impact on how artists viewed this antique inheritance and found inspiration in the Bacchic figures. Philosophical concepts, especially Neoplatonic ideas of inspiration and Aristotelian notions of Necessity, are considered for their impact on the meanings gleaned from Bacchic imagery. Each member of the Bacchic retinue is then explored to determine how his or her gestural vocabulary was employed, and what meanings he or she was made to bear in new settings. The frenzied maenad, with her hints of madness and untamed eroticism, was transformed into grieving Mary Magdalenes, heroic Judiths, and dancing Salomes, or was prettified into all'antica serving girls, nymphs, and personifications. The discovery of a sleeping Ariadne, unveiled by a satyr, contributed to one of the more popular motifs of the Renaissance, which even in new contexts retained associations with the epiphany and resurrection experienced by Ariadne when she was rescued by Bacchus. Revived epithalamic traditions employed the Triumph of Bacchus and Ariadne as a metaphor for both the taming forces of marriage and the bittersweet aura of youth and love. The frolicking, ithyphallic satyr embodied visions not only of a lost Arcadia, but also of the balancing forces of nature that require sexuality to sustain life. Tales of Silenus' wisdom inflected Renaissance depictions of the dissipated old satyr with contemporary notions of the morosoph, or wise fool. And as a symbol of the cosmos, Pan became the leader of a revived pastoral mode, a noble prince for a restored Golden Age. As a fecund, frenzied god, Bacchus came to embody the newly awakened Neoplatonic notion of divine furor: the inspiration that fueled all transcendent thought and creative imagination. At a moment when visual artists were striving to attain the status of their poetic…

Subjects/Keywords: Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

McStay, H. O. (2014). "Viva Bacco e viva Amore": Bacchic Imagery in the Renaissance. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D88913ZS

Chicago Manual of Style (16^th Edition):

McStay, Heather O'Leary. “"Viva Bacco e viva Amore": Bacchic Imagery in the Renaissance.” 2014. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D88913ZS.

MLA Handbook (7^th Edition):

McStay, Heather O'Leary. “"Viva Bacco e viva Amore": Bacchic Imagery in the Renaissance.” 2014. Web. 27 Feb 2021.

Vancouver:

McStay HO. "Viva Bacco e viva Amore": Bacchic Imagery in the Renaissance. [Internet] [Doctoral dissertation]. Columbia University; 2014. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D88913ZS.

Council of Science Editors:

McStay HO. "Viva Bacco e viva Amore": Bacchic Imagery in the Renaissance. [Doctoral Dissertation]. Columbia University; 2014. Available from: https://doi.org/10.7916/D88913ZS

Columbia University

25. Ilchman, Frederick. Jacopo Tintoretto in Process: The Making of a Venetian Master, 1540-1560.

Degree: 2014, Columbia University

URL: https://doi.org/10.7916/D8T151TW

► The Last Judgment and the Making of the Golden Calf in the Church of the Madonna dell'Orto in Venice are two of the tallest canvas… (more)

▼ The Last Judgment and the Making of the Golden Calf in the Church of the Madonna dell'Orto in Venice are two of the tallest canvas paintings ever created, each measuring some 14.5 m (47.6 feet) high. At this scale these pictures are clearly statements, made by an artist accustomed to confrontation. Jacopo Tintoretto (c.1518-1594) executed the pair of paintings around 1558-60 for the choir of his neighborhood church, in a commission that he apparently initiated himself, asking payment only for materials. The novelty of their monumentality and indeed their preeminence within Tintoretto's oeuvre were noted by early biographers. The paintings have received little attention in modern scholarship, however, which has tended to prioritize instead as his greatest accomplishments the Miracle of the Slave (1548) - Tintoretto's first picture in a series for the Scuola Grande di San Marco - and the dozens of canvases for the Scuola Grande di San Rocco (1564-88). Moreover, the initial paintings for both of these scuola cycles have been regarded in the literature as among the artist's most pivotal moments, overshadowing his work in the intervening decade of the 1550s, particularly the Last Judgment and the Making of the Golden Calf and a group of important paintings leading up to them. This dissertation argues that, far from being outliers in Tintoretto's oeuvre, the choir paintings for the Madonna dell'Orto - in their scale, technique, iconography, and personal meaning - should be seen as key steps in the artist's personal development and public achievement. Moreover, they represent a critical moment of arrival, summing up, in a grand statement of self-promotion, his work of the 1540s and 1550s. These two paintings must also be viewed as Tintoretto's response to the adversity he endured in the first half of his career. Spurred by his own ambition, faced with the hostility of artistic rivals both old and new, and inspired by an enduring ambition to challenge Michelangelo, Tintoretto initiated the two gigantic choir paintings about the year 1558 to revive a career that had flagged since his triumphant debut with the Miracle of the Slave a decade earlier. An examination of Tintoretto's biography, the intentions behind and reception of individual pictures, his stylistic and technical development, the influences of critics and fellow artists, together provide for the first time a detailed analysis of the painter's evolution in the period around the Miracle of the Slave and the dozen years that followed. This is the stage of his career that prepared Tintoretto to take on the challenges of the Scuola Grande di San Rocco and the massive commissions for the Palazzo Ducale. The turbulent decades of the 1540s and 1550s show an artist in process, on the verge of becoming the master who would dominate painting in Venice in the second half of the sixteenth century.

Subjects/Keywords: Art

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APA (6^th Edition):

Ilchman, F. (2014). Jacopo Tintoretto in Process: The Making of a Venetian Master, 1540-1560. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8T151TW

Chicago Manual of Style (16^th Edition):

Ilchman, Frederick. “Jacopo Tintoretto in Process: The Making of a Venetian Master, 1540-1560.” 2014. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D8T151TW.

MLA Handbook (7^th Edition):

Ilchman, Frederick. “Jacopo Tintoretto in Process: The Making of a Venetian Master, 1540-1560.” 2014. Web. 27 Feb 2021.

Vancouver:

Ilchman F. Jacopo Tintoretto in Process: The Making of a Venetian Master, 1540-1560. [Internet] [Doctoral dissertation]. Columbia University; 2014. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D8T151TW.

Council of Science Editors:

Ilchman F. Jacopo Tintoretto in Process: The Making of a Venetian Master, 1540-1560. [Doctoral Dissertation]. Columbia University; 2014. Available from: https://doi.org/10.7916/D8T151TW

Columbia University

26. Isard, Katherine Graham. The Practice of Theory in Vincenzo Scamozzi's Annotated Architecture Books.

Degree: 2014, Columbia University

URL: https://doi.org/10.7916/D8P26WNG

► "The Practice of Theory in Vincenzo Scamozzi's Annotated Architecture Books" provides an examination of the architecture books owned and annotated by the Vicentine architect and… (more)

▼ "The Practice of Theory in Vincenzo Scamozzi's Annotated Architecture Books" provides an examination of the architecture books owned and annotated by the Vicentine architect and architectural writer Vincenzo Scamozzi (1548-1616). It is an established historiographical conviction that printed treatises fundamentally changed the practice and reception of architecture in sixteenth-century Italy. Surprisingly little is known, however, about the ways these treatises were received and employed at the time they were made. The traces of Scamozzi's reading reveal how a major architect and theorist processed and applied bookish knowledge. Taken together, they provide important new insights into the contemporary significance of printed books within the architectural culture of late sixteenth-century Venice. Scamozzi is unusual in that a substantial number of his annotated books survive. This study considers this archive of response as a corpus for the first time. His annotations indicate the wide range of disciplines pertinent to early modern architecture, from mathematics to philology; indeed, his library is characteristic of the scholarly interests and practices of his day. For Scamozzi, architecture was a scienza rooted in universal principles, and architectural writing was essential to promote the utility of the profession. Reading itself, however, was not a straightforward activity. Scamozzi's reading depended on multiple factors, ranging from the nature of the material object to the probative methods of the author, and it was contingent upon his own interests and goals. Using Scamozzi's copies of Vitruvius (1550, 1556, 1567), Sebastiano Serlio (1551) and Pietro Cataneo (1567) as case studies, this study shows that Scamozzi used his books as instruments for literary and observational study, architectural practice, contemporary criticism, and as a platform to manufacture and control his public image. Scamozzi operated within an intellectual culture at once entrenched in the classical past and concerned with the advancement of present and future knowledge. His reading archive demonstrates how books shaped his understanding of each. This account argues that our historical understanding of the Renaissance architecture treatise has been overdetermined by its text, treated in isolation. Scamozzi's books and reading notes challenge the notion that print had a prescriptive effect on architectural thinking, showing that our evolutionary narrative about the treatise has not taken sufficient account of the historical circumstances that conditioned its forms.

Subjects/Keywords: Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Isard, K. G. (2014). The Practice of Theory in Vincenzo Scamozzi's Annotated Architecture Books. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8P26WNG

Chicago Manual of Style (16^th Edition):

Isard, Katherine Graham. “The Practice of Theory in Vincenzo Scamozzi's Annotated Architecture Books.” 2014. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D8P26WNG.

MLA Handbook (7^th Edition):

Isard, Katherine Graham. “The Practice of Theory in Vincenzo Scamozzi's Annotated Architecture Books.” 2014. Web. 27 Feb 2021.

Vancouver:

Isard KG. The Practice of Theory in Vincenzo Scamozzi's Annotated Architecture Books. [Internet] [Doctoral dissertation]. Columbia University; 2014. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D8P26WNG.

Council of Science Editors:

Isard KG. The Practice of Theory in Vincenzo Scamozzi's Annotated Architecture Books. [Doctoral Dissertation]. Columbia University; 2014. Available from: https://doi.org/10.7916/D8P26WNG

Columbia University

27. Majeed, Risham. Primitive before Primitivism: Medieval and African Art in the 19th century.

Degree: 2015, Columbia University

URL: https://doi.org/10.7916/D89W0DS2

► This dissertation chronicles how medieval, and particularly Romanesque art, came to be understood as “primitive” and “originary” throughout the nineteenth century. I argue that because… (more)

▼ This dissertation chronicles how medieval, and particularly Romanesque art, came to be understood as “primitive” and “originary” throughout the nineteenth century. I argue that because Romanesque sculpture was perceived to be both an anterior and foreign style, its alterity disturbed the linear nationalistic narratives being developed throughout the nineteenth century. The rediscovery of Romanesque monuments, following a fraught and violent period of destruction, confused the entire notion of “origins,” because even though they were ancient, they lacked purity and innovation. Romanesque art was non-naturalistic, de-centralized and did not conform to the established aesthetic canons of the time in which it re-entered the European imagination. Theoreticians’ engagements with Romanesque furnished them with language and a model of comparison for the great variety of nonwestern, and mostly non-naturalistic, styles that were brought back to Europe during the same period. I propose that Primitivism developed as a strategy of identity formation arising out of an unprecedented and radical disavowal of the past during the French Revolution, in which medieval art played a generative role. Each chapter traces the interdependence of margins and metropoles in the concomitant fashioning of national and colonial identities, as France gradually intensified its expansion into Africa. Through synchronous analysis of new technologies of reproductive media, particularly lithographs and photographs, I argue that neither African nor Medieval art entered the nascent discourse of art history in isolation, as the respective historiographies of those fields would have us believe. Most importantly, my research reveals the intellectual and pictorial dialogue between anthropology and art that lead to the foundation of two seminal museums, The Museum of Ethnography and The Museum of Comparative Sculpture at the Trocadéro, by the eminent architect and theoretician, E.E. Viollet-le-Duc. I also argue for the anthropological origins of Art History in the late nineteenth century and the effect that the former’s methods had on the categorization of certain arts as “primitive.” More specifically, I show that perceptions of African art were not conceived in a vacuum, nor did they arise distinct from European material culture and aesthetics. Indeed, both Romanesque and African art were first treated as ethnographic evidence of “primitive” societies steeped in collective ritual, entirely at odds with the individual secularism at the core of Modernity. Since anthropology and ethnography treated visual material as reflections of the stages of civilization rather than as forms with their own self-regulated logic, the theorization of Romanesque and African art was colored by the biases of a different discipline. This pre-history shows that the circulation of African art in the early Colonial period did not engender Primitivism but rather that pre-existent notions of “primitivity” attached to Romanesque sculpture were extended to this newly…

Subjects/Keywords: Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Majeed, R. (2015). Primitive before Primitivism: Medieval and African Art in the 19th century. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D89W0DS2

Chicago Manual of Style (16^th Edition):

Majeed, Risham. “Primitive before Primitivism: Medieval and African Art in the 19th century.” 2015. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D89W0DS2.

MLA Handbook (7^th Edition):

Majeed, Risham. “Primitive before Primitivism: Medieval and African Art in the 19th century.” 2015. Web. 27 Feb 2021.

Vancouver:

Majeed R. Primitive before Primitivism: Medieval and African Art in the 19th century. [Internet] [Doctoral dissertation]. Columbia University; 2015. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D89W0DS2.

Council of Science Editors:

Majeed R. Primitive before Primitivism: Medieval and African Art in the 19th century. [Doctoral Dissertation]. Columbia University; 2015. Available from: https://doi.org/10.7916/D89W0DS2

Columbia University

28. Jones, Jennifer E. A Discourse on Drawings: Amateurs and Connoisseurs and the graphic arts in early eighteenth-century Paris.

Degree: 2015, Columbia University

URL: https://doi.org/10.7916/D8S46RFR

► This study looks at a group of art collectors whose interests in the graphic arts contributed to the status of drawings in Paris in the… (more)

Subjects/Keywords: Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Jones, J. E. (2015). A Discourse on Drawings: Amateurs and Connoisseurs and the graphic arts in early eighteenth-century Paris. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8S46RFR

Chicago Manual of Style (16^th Edition):

Jones, Jennifer E. “A Discourse on Drawings: Amateurs and Connoisseurs and the graphic arts in early eighteenth-century Paris.” 2015. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D8S46RFR.

MLA Handbook (7^th Edition):

Jones, Jennifer E. “A Discourse on Drawings: Amateurs and Connoisseurs and the graphic arts in early eighteenth-century Paris.” 2015. Web. 27 Feb 2021.

Vancouver:

Jones JE. A Discourse on Drawings: Amateurs and Connoisseurs and the graphic arts in early eighteenth-century Paris. [Internet] [Doctoral dissertation]. Columbia University; 2015. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D8S46RFR.

Council of Science Editors:

Jones JE. A Discourse on Drawings: Amateurs and Connoisseurs and the graphic arts in early eighteenth-century Paris. [Doctoral Dissertation]. Columbia University; 2015. Available from: https://doi.org/10.7916/D8S46RFR

Columbia University

29. Charuhas, Christina Alexis. The Disobedient Isle: Bermudian Aesthetic and Material Culture in the British Atlantic, 1609-1753.

Degree: 2015, Columbia University

URL: https://doi.org/10.7916/D8HM57Z7

► This dissertation examines the unique aesthetic and material culture produced in and around the historically misunderstood island of Bermuda from the beginning of its European… (more)

▼ This dissertation examines the unique aesthetic and material culture produced in and around the historically misunderstood island of Bermuda from the beginning of its European discovery through the height of its economic prosperity in the mid-eighteenth-century. As a naturally uninhabited island located in the northern Atlantic Ocean, I argue that the first cartographic images of Bermuda alternately pictured it as a virgin utopia and foreboding “Isle of Devils” for captivated European audiences. Following the settlement in 1609, however, I demonstrate how Bermuda’s own visual culture illustrates islanders’ efforts to challenge these mythologies and develop a local culture predicated on colonial disobedience, economic opportunism, and Atlantic cosmopolitanism. Each chapter of my dissertation thereby examines a separate category of aesthetic objects related to Bermuda’s cultural development, beginning with cartographic maps and continuing to natural history illustrations, portraiture, and woven straw bonnets made as part of a profitable cottage industry. Given my alternating my focus on locally and externally produced Bermudian objects, this dissertation participates in post-colonial studies that challenge the privileging of the metropole over colony. Indeed, as participants in a predominately maritime economy, I argue that eighteenth-century Bermudians were deeply connected to communities throughout the British Atlantic and used the objects circulating in this space to craft multiple, locally resonant identities. The broad range of object categories considered in this work also creates new space for examining the lived experiences of Bermudian slaves, who are traditionally under-represented in the historical record. As these Creole- and Anglo-Bermudians also went on to live and work in other Caribbean and North American colonies throughout the British Atlantic, I argue that they also disseminate Bermudian experiences abroad and helped integrated islanders’ unique interpretations of British colonial identity into the transatlantic cultural webs linking these communities throughout the long eighteenth-century.

Subjects/Keywords: Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Charuhas, C. A. (2015). The Disobedient Isle: Bermudian Aesthetic and Material Culture in the British Atlantic, 1609-1753. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8HM57Z7

Chicago Manual of Style (16^th Edition):

Charuhas, Christina Alexis. “The Disobedient Isle: Bermudian Aesthetic and Material Culture in the British Atlantic, 1609-1753.” 2015. Doctoral Dissertation, Columbia University. Accessed February 27, 2021. https://doi.org/10.7916/D8HM57Z7.

MLA Handbook (7^th Edition):

Charuhas, Christina Alexis. “The Disobedient Isle: Bermudian Aesthetic and Material Culture in the British Atlantic, 1609-1753.” 2015. Web. 27 Feb 2021.

Vancouver:

Charuhas CA. The Disobedient Isle: Bermudian Aesthetic and Material Culture in the British Atlantic, 1609-1753. [Internet] [Doctoral dissertation]. Columbia University; 2015. [cited 2021 Feb 27]. Available from: https://doi.org/10.7916/D8HM57Z7.

Council of Science Editors:

Charuhas CA. The Disobedient Isle: Bermudian Aesthetic and Material Culture in the British Atlantic, 1609-1753. [Doctoral Dissertation]. Columbia University; 2015. Available from: https://doi.org/10.7916/D8HM57Z7

University of Notre Dame

30. Benjamin Sunderlin. Terms of Art</h1>.

Degree: Art, Art History and Design, 2015, University of Notre Dame

URL: https://curate.nd.edu/show/nk322b9131j

► My work comes from the intersection between my identity as both a practicing Artist and as the United States’ only traditional bell maker. Campanology… (more)

Subjects/Keywords: Art

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APA (6^th Edition):

Sunderlin, B. (2015). Terms of Art</h1>. (Thesis). University of Notre Dame. Retrieved from https://curate.nd.edu/show/nk322b9131j

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Sunderlin, Benjamin. “Terms of Art</h1>.” 2015. Thesis, University of Notre Dame. Accessed February 27, 2021. https://curate.nd.edu/show/nk322b9131j.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Sunderlin, Benjamin. “Terms of Art</h1>.” 2015. Web. 27 Feb 2021.

Vancouver:

Sunderlin B. Terms of Art</h1>. [Internet] [Thesis]. University of Notre Dame; 2015. [cited 2021 Feb 27]. Available from: https://curate.nd.edu/show/nk322b9131j.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Sunderlin B. Terms of Art</h1>. [Thesis]. University of Notre Dame; 2015. Available from: https://curate.nd.edu/show/nk322b9131j

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Open Access Theses and Dissertations