You searched for subject:(708).
Showing records 1 – 30 of
412 total matches.
◁ [1] [2] [3] [4] [5] … [14] ▶
University of Dundee
1.
Milburn, J. H.
Paintings and their irreducibility to explanation : myth and multiform aesthetic experience.
Degree: PhD, 2011, University of Dundee
URL: http://hdl.handle.net/10588/ae88fcfd-6c9c-42ef-8b0e-2c4a2b8a470d 
► This Ph.D. consists of a written thesis developed alongside seventeen original oil paintings. The original purpose was to examine through thesis how creative painting practice…
(more)
▼ This Ph.D. consists of a written thesis developed alongside seventeen original oil paintings. The original purpose was to examine through thesis how creative painting practice and a reconsideration of myth in word and image would, or could, express my experience of post-war Bosnia in 1999. In light of the limitations identified with such an approach during the course of this study, the thesis became an analysis of the ways in which we explain art, focussing upon aspects of mythic explanation in particular. For example, by reconsidering James Macpherson‘s national epic Romantic myth The Poems of Ossian, I was able to study the main issues involved. Key writers include Joseph Campbell (1949), Carl Jung (1966) and Levi Strauss (1963/1968), before finally considering Wittgenstein's (1979) remarks on myth. Key contemporary artists include American Pop Surreal painters. The focus of this thesis is not explicitly about the war in Bosnia. It is not necessarily about myth, or of aesthetics philosophy, and it is not exclusively about the series of 17 original oil paintings developed during the course of this study. Rather this study concerns the way in which all of these elements combine to provide the rich and diverse human cultural experience we know as art. It considers thinking about the way in which art engages with the world, from an artist's perspective. The original contribution to knowledge arises from the way in which this study combines theory, practice and experience. The objective was therefore for original works of art to become the key to more interesting theorizing, and vice versa. The thesis concludes that painting is irreducible to explanation, and considers key research areas for future critical discourse.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Milburn, J. H. (2011). Paintings and their irreducibility to explanation : myth and multiform aesthetic experience. (Doctoral Dissertation). University of Dundee. Retrieved from http://hdl.handle.net/10588/ae88fcfd-6c9c-42ef-8b0e-2c4a2b8a470d
Chicago Manual of Style (16th Edition):
Milburn, J H. “Paintings and their irreducibility to explanation : myth and multiform aesthetic experience.” 2011. Doctoral Dissertation, University of Dundee. Accessed February 17, 2020.
http://hdl.handle.net/10588/ae88fcfd-6c9c-42ef-8b0e-2c4a2b8a470d.
MLA Handbook (7th Edition):
Milburn, J H. “Paintings and their irreducibility to explanation : myth and multiform aesthetic experience.” 2011. Web. 17 Feb 2020.
Vancouver:
Milburn JH. Paintings and their irreducibility to explanation : myth and multiform aesthetic experience. [Internet] [Doctoral dissertation]. University of Dundee; 2011. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10588/ae88fcfd-6c9c-42ef-8b0e-2c4a2b8a470d.
Council of Science Editors:
Milburn JH. Paintings and their irreducibility to explanation : myth and multiform aesthetic experience. [Doctoral Dissertation]. University of Dundee; 2011. Available from: http://hdl.handle.net/10588/ae88fcfd-6c9c-42ef-8b0e-2c4a2b8a470d
University of Plymouth
2.
Manasseh, Pamela.
The Brynmawr experiment 1928-1940 : Quaker values and arts and crafts principles.
Degree: PhD, 2009, University of Plymouth
URL: http://hdl.handle.net/10026.1/358
► This is a study of the social work of Quakers in the town of Brynmawr in South Wales during the depressions of the 1920s and…
(more)
▼ This is a study of the social work of Quakers in the town of Brynmawr in South Wales during the depressions of the 1920s and 1930s. The work, which took place during the years 1928 to 1940, has become known as the Brynmawr Experiment. The initial provision of practical and financial relief for a town suffering severely from the effects of unemployment, was developed with the establishment of craft workshops to provide employment. Special reference is made to the furniture making workshop and the personnel involved with it. The thesis attempts to trace links between the moral and aesthetic values of Quakerism and the Arts and Crafts Movement and explores the extent to which the guiding principles of the social witness project and the furniture making enterprise resemble those of the Arts and Crafts Movement of the inter-war years, 1919-1939. All aspects of the Quaker work at Brynmawr were prompted by concern for social justice and upholding the dignity of each individual. These were also the concerns of John Ruskin and William Morris which motivated the formation of the Arts and Crafts Movement in the! 880s. The Arts and Crafts principles which persisted into the twentieth century in the craft communities of C. R. Ashbee and of Eric Gill, and in the craftsmanship of the Cotswold furniture makers, provides an Arts and Crafts context for the Brynmawr furniture. It is argued that similarities between the aesthetic and moral principles of the members of the Religious Society of Friends (Quakers) and those of Ruskin, Morris and their followers establish a synonymity in which they are linked by a common integrity. It is further argued that as a social project arising out of and responding to the specific economic conditions of the time, the Brynmawr Experiment and its furniture making enterprise is, by virtue of such links with Arts and Crafts, a potentially unique Quaker social witness project.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Manasseh, P. (2009). The Brynmawr experiment 1928-1940 : Quaker values and arts and crafts principles. (Doctoral Dissertation). University of Plymouth. Retrieved from http://hdl.handle.net/10026.1/358
Chicago Manual of Style (16th Edition):
Manasseh, Pamela. “The Brynmawr experiment 1928-1940 : Quaker values and arts and crafts principles.” 2009. Doctoral Dissertation, University of Plymouth. Accessed February 17, 2020.
http://hdl.handle.net/10026.1/358.
MLA Handbook (7th Edition):
Manasseh, Pamela. “The Brynmawr experiment 1928-1940 : Quaker values and arts and crafts principles.” 2009. Web. 17 Feb 2020.
Vancouver:
Manasseh P. The Brynmawr experiment 1928-1940 : Quaker values and arts and crafts principles. [Internet] [Doctoral dissertation]. University of Plymouth; 2009. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10026.1/358.
Council of Science Editors:
Manasseh P. The Brynmawr experiment 1928-1940 : Quaker values and arts and crafts principles. [Doctoral Dissertation]. University of Plymouth; 2009. Available from: http://hdl.handle.net/10026.1/358
University of Plymouth
3.
Dalton, Penelope.
Family and other relations : a thesis examining the extent to which family relationships shape the relations of art.
Degree: PhD, 2008, University of Plymouth
URL: http://hdl.handle.net/10026.1/758
► This thesis is sited in contemporary issues concerning gender and identity in relation to the arts. It aims to examine the nature of the family…
(more)
▼ This thesis is sited in contemporary issues concerning gender and identity in relation to the arts. It aims to examine the nature of the family and the extent to which relationships and identities in the family might be analogous to the relations of fine art; these include relations between the artist and the artwork, between what is defined as 'art' and what is not, between the artwork and the viewer. It also touches on some of the other, innumerable relationships encountered in the arts: relations of materials form, feeling, thinking and making. The thesis contains a discussion of the nature of family identities and relationships based on my own experiences in the mid-twentieth century and today. Families are at first divided into two main types, nonnative and ethicaL These types represent the difference between ideal or stereotypical family relations and the way families actually live in practice. Analogies are made between normative families and traditional modes of defining art and ethical family relations and ethical notions of art. In the last chapter I suggest that relations that are core and normative are linked to marginal relations through ethical links made by liminal figures that pass between them. Although issues of identity, patriarchy and binary difference appear in theoretical writings on art criticism and practice, there appears to be little contemporary debate in these issues in relation to the family and its relationships. The thesis begins to map out the terrain of such a field of enquiry.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Dalton, P. (2008). Family and other relations : a thesis examining the extent to which family relationships shape the relations of art. (Doctoral Dissertation). University of Plymouth. Retrieved from http://hdl.handle.net/10026.1/758
Chicago Manual of Style (16th Edition):
Dalton, Penelope. “Family and other relations : a thesis examining the extent to which family relationships shape the relations of art.” 2008. Doctoral Dissertation, University of Plymouth. Accessed February 17, 2020.
http://hdl.handle.net/10026.1/758.
MLA Handbook (7th Edition):
Dalton, Penelope. “Family and other relations : a thesis examining the extent to which family relationships shape the relations of art.” 2008. Web. 17 Feb 2020.
Vancouver:
Dalton P. Family and other relations : a thesis examining the extent to which family relationships shape the relations of art. [Internet] [Doctoral dissertation]. University of Plymouth; 2008. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10026.1/758.
Council of Science Editors:
Dalton P. Family and other relations : a thesis examining the extent to which family relationships shape the relations of art. [Doctoral Dissertation]. University of Plymouth; 2008. Available from: http://hdl.handle.net/10026.1/758
University of Plymouth
4.
Myers, Misha.
Homing place : towards a participatory, ambulant and conversive methodology.
Degree: PhD, 2009, University of Plymouth
URL: http://hdl.handle.net/10026.1/3181
► The practice-as-research project Homing Place proposes a transferable percipient-led methodology of performance and research activated by ambulant and conversive mechanisms as the culmination of this…
(more)
▼ The practice-as-research project Homing Place proposes a transferable percipient-led methodology of performance and research activated by ambulant and conversive mechanisms as the culmination of this research. The thesis is comprised of a range of activity that represents a moment and way of writing practice. Three artworks that comprise part of the practical component of this thesis - way from home, Take me to a place and Yodel Rodeo - each involved participation and contribution from particular audiences and social groups in spatial and conversational modes of performance executed through processes of wayfinding, mapping and walking. One of the primary contributions of knowledge of this research is the notion of homing tales and the knowledge derived from its deployment as a re-working of nostalgia and as a radical spatial narrative practice of home-making and orientation in specific contexts of migration. Another central contribution is the identification of a particular form of conversational ambulant practice within contemporary performance as conversive wayfinding, an artistic spatial practice where the performance event occurs in the conversational activity set in motion by the conditions of wayfinding. Among the questions raised are: How do contextually-based and participant-led performance mechanisms enable opportunities for participants to express strategies of home-making and enable participants to articulate their own critical perspectives and experiences of place, particularly in the experience of migration? How do people construct narratives and practices of home and identity in the experience of cultural and historical displacement? How do people meet, sense and make meaningful sense of places in and through spatial narrative practices? How do these practices become radical strategies to critique, resist and enable power and to create emergent forms of identity and belonging?
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Myers, M. (2009). Homing place : towards a participatory, ambulant and conversive methodology. (Doctoral Dissertation). University of Plymouth. Retrieved from http://hdl.handle.net/10026.1/3181
Chicago Manual of Style (16th Edition):
Myers, Misha. “Homing place : towards a participatory, ambulant and conversive methodology.” 2009. Doctoral Dissertation, University of Plymouth. Accessed February 17, 2020.
http://hdl.handle.net/10026.1/3181.
MLA Handbook (7th Edition):
Myers, Misha. “Homing place : towards a participatory, ambulant and conversive methodology.” 2009. Web. 17 Feb 2020.
Vancouver:
Myers M. Homing place : towards a participatory, ambulant and conversive methodology. [Internet] [Doctoral dissertation]. University of Plymouth; 2009. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10026.1/3181.
Council of Science Editors:
Myers M. Homing place : towards a participatory, ambulant and conversive methodology. [Doctoral Dissertation]. University of Plymouth; 2009. Available from: http://hdl.handle.net/10026.1/3181
5.
Lehrman, Rachel.
Communicative dynamics of artistic collaboration.
Degree: PhD, 2008, Roehampton University
URL: http://hdl.handle.net/10142/72374
► In his 2001 writings on artistic collaboration, art theorist Charles Green describes how some artistic duos and teams developed a ‘phantom’ element— a ‘third hand’…
(more)
▼ In his 2001 writings on artistic collaboration, art theorist Charles Green describes how some artistic duos and teams developed a ‘phantom’ element— a ‘third hand’ or collaborative identity independent from and yet related to the individual identities and voices of the artistic collaborators involved. This thesis examines communicative interaction characteristic of these types of collaborations in order to explore this phantom element: what it means, what it is, how it develops and its relationship to the artistic collaborators. Ultimately, it investigates how artists can develop a collaborative author through persistent dialogue and communicative interaction. Focusing on the communicative dynamics of collaborative art practices, the first part of this study illustrates how collaboration reworks conventional notions of authorship. Integrating communication theory and group studies, it then analyses different applications of the term collaboration in contemporary art theory, challenging writings that indiscriminately categorise a variety of participatory activities and roles as collaborative. In doing so, this research examines different types of collaborative relationships; it investigates the conditions necessary for collaborative communication to produce collaborative authorship, outlining various defining characteristics of collaboration. The final portion of this study focuses on collaborative situations in which all of these defining characteristics are met. Using semiotic and hermeneutic phenomenological frameworks, it traces the development of a collective consciousness, collective identity and collective voice. Incorporating research obtained through naturalistic enquiry and questionnaires, it examines how prolonged communication, shared ownership and shared decision-making contribute to the development of these collective entities, leading up to the establishment of a collaborative author. An accompanying DVD and booklet documents the practice-based portion of this investigation— Nomadics, a nine-month multi-media artistic collaboration. The DVD not only evidences the physical art installation that resulted from the collaboration, but also the collaborative practice, providing specific examples to help support claims made within the body of the thesis.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Lehrman, R. (2008). Communicative dynamics of artistic collaboration. (Doctoral Dissertation). Roehampton University. Retrieved from http://hdl.handle.net/10142/72374
Chicago Manual of Style (16th Edition):
Lehrman, Rachel. “Communicative dynamics of artistic collaboration.” 2008. Doctoral Dissertation, Roehampton University. Accessed February 17, 2020.
http://hdl.handle.net/10142/72374.
MLA Handbook (7th Edition):
Lehrman, Rachel. “Communicative dynamics of artistic collaboration.” 2008. Web. 17 Feb 2020.
Vancouver:
Lehrman R. Communicative dynamics of artistic collaboration. [Internet] [Doctoral dissertation]. Roehampton University; 2008. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10142/72374.
Council of Science Editors:
Lehrman R. Communicative dynamics of artistic collaboration. [Doctoral Dissertation]. Roehampton University; 2008. Available from: http://hdl.handle.net/10142/72374
University of the Arts London
6.
Butler, Brad.
How can structural film expand the language of experimental ethnography?.
Degree: PhD, 2009, University of the Arts London
URL: http://ualresearchonline.arts.ac.uk/5454/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543444
► This research question How can structural film expand the language of experimental ethnography? considers the potential cross-fertilisation of a structural film practice with experimental ethnography…
(more)
▼ This research question How can structural film expand the language of experimental ethnography? considers the potential cross-fertilisation of a structural film practice with experimental ethnography to challenge dominant assumptions about cultural representation in anthropology and to suggest ways in which anthropology can actively interrogate visual systems as a means of renewing the avant-gardism of structural film. Thus this study asks what a structural–materialist project mostly connected with the 1960s and 1970s could contribute to contemporary ethnography if issues of anthropological representation were allowed to penetrate field of vision and what new forms of representation occur where the textual embodiment of authority in fieldwork studies becomes the subject of a structural film. This includes the crossover of these terms with minimal and conceptual art, experimental aesthetic systems and/or artworks that blur fact and fiction. These theoretical parameters are then explored through practice in an installation proposal The Autonomous Object? and a single screen work The Exception and the Rule. The Autonomous Object? takes as its subject the boundary between documentary and performance, the raw realism of the photographic image and the sculptural qualities of the monochrome. The Exception and the Rule proposes that the viewer experience representational issues at stake in anthropology and structural film, a transfer of emphasis from what a film’s subject ‘is’ to how a film’s subject is seen. Both works gather geo/political urgency due to the current civil unrest in Pakistan and India, where they were primarily filmed. The resulting question as to how one makes a political film foregrounds the multi-layered and complex relationship between art, politics and language that has led to The Museum of non Participation, the future body of work that concludes this thesis
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Butler, B. (2009). How can structural film expand the language of experimental ethnography?. (Doctoral Dissertation). University of the Arts London. Retrieved from http://ualresearchonline.arts.ac.uk/5454/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543444
Chicago Manual of Style (16th Edition):
Butler, Brad. “How can structural film expand the language of experimental ethnography?.” 2009. Doctoral Dissertation, University of the Arts London. Accessed February 17, 2020.
http://ualresearchonline.arts.ac.uk/5454/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543444.
MLA Handbook (7th Edition):
Butler, Brad. “How can structural film expand the language of experimental ethnography?.” 2009. Web. 17 Feb 2020.
Vancouver:
Butler B. How can structural film expand the language of experimental ethnography?. [Internet] [Doctoral dissertation]. University of the Arts London; 2009. [cited 2020 Feb 17].
Available from: http://ualresearchonline.arts.ac.uk/5454/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543444.
Council of Science Editors:
Butler B. How can structural film expand the language of experimental ethnography?. [Doctoral Dissertation]. University of the Arts London; 2009. Available from: http://ualresearchonline.arts.ac.uk/5454/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543444
University of York
7.
Hanley, Stephen James.
The optical concerns of Jan van Eyck's painting practice.
Degree: PhD, 2007, University of York
URL: http://etheses.whiterose.ac.uk/11052/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485094
► Jan van Eyck's paintings tend to be described in terms, often, derived from the field of optics, relating to sensations or effects of light, such…
(more)
▼ Jan van Eyck's paintings tend to be described in terms, often, derived from the field of optics, relating to sensations or effects of light, such as 'luminescent' or 'mirror-like'. This thesis aims to define, first, how the distinctively 'optical' characteristics of his practice operate in visual and technical terms, and second, what this suggests about van Eyck's concerns as an artist. The primary intention of the thesis is to define precisely and comprehensively how the optical concerns of van Eyck's paintings relate to his interest in the visual properties of images produced, enhanced, or distorted by optical devices such as mirrors and lenses. It argues that the distinctive 'optical naturalism' of his paintings is not strictly an issue of technique or style, but a matter of how these two interdependent aspects of painting were informed by his unique sensitivity to the visual properties of light, which itself, I suggest, derived from his experience with optical devices. More broadly, the thesis outlines the various ways in which the style, technique and iconography of van Eyck's paintings are founded upon his fascination with manipulating the expectations and restrictions ofvisual experience.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Hanley, S. J. (2007). The optical concerns of Jan van Eyck's painting practice. (Doctoral Dissertation). University of York. Retrieved from http://etheses.whiterose.ac.uk/11052/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485094
Chicago Manual of Style (16th Edition):
Hanley, Stephen James. “The optical concerns of Jan van Eyck's painting practice.” 2007. Doctoral Dissertation, University of York. Accessed February 17, 2020.
http://etheses.whiterose.ac.uk/11052/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485094.
MLA Handbook (7th Edition):
Hanley, Stephen James. “The optical concerns of Jan van Eyck's painting practice.” 2007. Web. 17 Feb 2020.
Vancouver:
Hanley SJ. The optical concerns of Jan van Eyck's painting practice. [Internet] [Doctoral dissertation]. University of York; 2007. [cited 2020 Feb 17].
Available from: http://etheses.whiterose.ac.uk/11052/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485094.
Council of Science Editors:
Hanley SJ. The optical concerns of Jan van Eyck's painting practice. [Doctoral Dissertation]. University of York; 2007. Available from: http://etheses.whiterose.ac.uk/11052/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485094
University of Sheffield
8.
Banwell, Julia Mary.
Teresa Margolles' aesthetic of death.
Degree: PhD, 2010, University of Sheffield
URL: http://etheses.whiterose.ac.uk/14529/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515425
► The artist Teresa Margolles, Mexico's foremost proponent of corpse art, is based in Mexico City and exhibits her work across the world. Her central obsessions…
(more)
▼ The artist Teresa Margolles, Mexico's foremost proponent of corpse art, is based in Mexico City and exhibits her work across the world. Her central obsessions are death, the dead body, and violence, themes which are manifested in her exploration of `la vida del cadaver' (`the life of the corpse'). For the early part of her career during the 1990s, Margolles worked as part of the SEMEFO collective, and she has subsequently maintained her artistic career on a solo basis. She works with the bodies of individuals who were socially and economically disadvantaged during life, and has used body parts and residues such as blood and fat in her works, as well as objects from the morgue that have come into contact with corpses. The corpse itself, however, is not often revealed; rather its presence is suggested by raw materials such as air and water. The artist employs deceptively subtle means of representation that operate on multiple sensory planes in order to draw the spectator into contemplation of the unsettling realities of social inequality and violence in her native Mexico, which sometimes occurs through direct physical contact between the viewer and the raw materials used by Margolles in her art works. The boundaries between life and death, and the inside and the outside of the body, are transgressed. A selection of works taken from different points in the artist's career will be explored from a range of theoretical perspectives including the sociology of the body, the sociology of death, philosophical approaches to the experience of contemplating death and the corpse, and the history of the exploration of these themes in visual culture. In this way, the artist uses an artistic language that may be interpreted across borders, to address a specifically local set of circumstances.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Banwell, J. M. (2010). Teresa Margolles' aesthetic of death. (Doctoral Dissertation). University of Sheffield. Retrieved from http://etheses.whiterose.ac.uk/14529/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515425
Chicago Manual of Style (16th Edition):
Banwell, Julia Mary. “Teresa Margolles' aesthetic of death.” 2010. Doctoral Dissertation, University of Sheffield. Accessed February 17, 2020.
http://etheses.whiterose.ac.uk/14529/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515425.
MLA Handbook (7th Edition):
Banwell, Julia Mary. “Teresa Margolles' aesthetic of death.” 2010. Web. 17 Feb 2020.
Vancouver:
Banwell JM. Teresa Margolles' aesthetic of death. [Internet] [Doctoral dissertation]. University of Sheffield; 2010. [cited 2020 Feb 17].
Available from: http://etheses.whiterose.ac.uk/14529/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515425.
Council of Science Editors:
Banwell JM. Teresa Margolles' aesthetic of death. [Doctoral Dissertation]. University of Sheffield; 2010. Available from: http://etheses.whiterose.ac.uk/14529/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515425
9.
Lim, Christopher Sze Chong.
Taking account of age and generation effects : implications for inclusive design.
Degree: PhD, 2008, Glasgow School of Art
URL: http://radar.gsa.ac.uk/4916/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518683
► A case study and a cross-sectional experiment was carried out to investigate which aspects of current user interface complexity caused difficulties with users of different…
(more)
▼ A case study and a cross-sectional experiment was carried out to investigate which aspects of current user interface complexity caused difficulties with users of different age groups and in what ways the handling of user interface affected the performance with respect to age and experience. Concurrently, throughout the research, a conceptual visual tool – the Generation Timeline Tool (GTT) was developed. The main method for data collection for the case study was research interview, in conjunction with the GTT. It was found that older participants aged 46 or older had more statements concerning procedural difficulties, which involves interface with menus, than younger participants. Lack of experience with such multi-layered interfaces was mentioned among older participants. A cross-sectional study was conducted to investigate the relationship between age groups and multi-layered interfaces. It was found that in task duration performance, there was an age effect. In successful completion rate, the 56-65 and 66- and above age groups have a lower rate of success on products with two or three layers of interface indicating a generation effect, suggesting that older participants have generation-related lack of experience with current user interface. The GTT, although designed to be a research tool to assist the researcher has indicated that it may be able to provide other designers with guidance in understanding the generation-related experience and make appropriate changes to their design to make their products more inclusive. Design students evaluated the GTT and feedback from the participants indicated that the GTT was useful in bringing about awareness and provoking consideration of technological, social and demographics trends in their target market and in the features of products that are required to meet the requirements of the end users effectively.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Lim, C. S. C. (2008). Taking account of age and generation effects : implications for inclusive design. (Doctoral Dissertation). Glasgow School of Art. Retrieved from http://radar.gsa.ac.uk/4916/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518683
Chicago Manual of Style (16th Edition):
Lim, Christopher Sze Chong. “Taking account of age and generation effects : implications for inclusive design.” 2008. Doctoral Dissertation, Glasgow School of Art. Accessed February 17, 2020.
http://radar.gsa.ac.uk/4916/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518683.
MLA Handbook (7th Edition):
Lim, Christopher Sze Chong. “Taking account of age and generation effects : implications for inclusive design.” 2008. Web. 17 Feb 2020.
Vancouver:
Lim CSC. Taking account of age and generation effects : implications for inclusive design. [Internet] [Doctoral dissertation]. Glasgow School of Art; 2008. [cited 2020 Feb 17].
Available from: http://radar.gsa.ac.uk/4916/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518683.
Council of Science Editors:
Lim CSC. Taking account of age and generation effects : implications for inclusive design. [Doctoral Dissertation]. Glasgow School of Art; 2008. Available from: http://radar.gsa.ac.uk/4916/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518683
University of Plymouth
10.
Shaw, Martin.
A mythography of the crossroads : how is the severance/threshold/return progression in both mythology and modern wilderness rites-of-passage established through metaphor? : an enquiry conducted through contemporary storytelling practice.
Degree: PhD, 2011, University of Plymouth
URL: http://hdl.handle.net/10026.1/542
► This research examines the metaphorical structures within seven selected myths in relation to wilderness rites-of-passage, and the key thematic progression of Severance/Threshold/Return. These rites-of-passage are…
(more)
▼ This research examines the metaphorical structures within seven selected myths in relation to wilderness rites-of-passage, and the key thematic progression of Severance/Threshold/Return. These rites-of-passage are an essential component of an ongoing programme offered to the general public. The research is primarily creative in that the oral texts have been developed from extant myth over several years, and adapted to a variety of performance contexts. The evolution of these oral texts is examined in an analytical text, which draws on contemporary philosophy and critical theory to consider both the activity of wilderness rites-of-passage, and the role of metaphor within the storytelling. Crucial to the methodology is mythography; myth apprehended not by one perspective, but requiring consideration by a variety of disciplines. The concept of shape shifting is central to the seven stories, and also suggestive of the processes contained within this submission, to which there are four components: 1. The session texts; transcripts of performance sessions which took place over a twelve-month period with the same twenty-five participants. The texts contain three years of preparatory research, creative and analytical, presented orally to the group, and subsequently transcribed and revised according to new research, but retaining the syntax of an oral presentation. 2. Analytical text; this engages with a wider discourse on the properties of myth, and contextualises the constituent elements of the session texts. 3. Oral recordings; a recording of a live theatre performance, with improvised syntax, language and metaphor, is presented in contrast to a controlled studio recording. 4. Painting; during the programme, my artistic practice was affected by an enhanced understanding of the mythological elements, and the silent, solitary practice of painting asserted itself as a profound way to contemplate the severance/threshold/return progression.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Shaw, M. (2011). A mythography of the crossroads : how is the severance/threshold/return progression in both mythology and modern wilderness rites-of-passage established through metaphor? : an enquiry conducted through contemporary storytelling practice. (Doctoral Dissertation). University of Plymouth. Retrieved from http://hdl.handle.net/10026.1/542
Chicago Manual of Style (16th Edition):
Shaw, Martin. “A mythography of the crossroads : how is the severance/threshold/return progression in both mythology and modern wilderness rites-of-passage established through metaphor? : an enquiry conducted through contemporary storytelling practice.” 2011. Doctoral Dissertation, University of Plymouth. Accessed February 17, 2020.
http://hdl.handle.net/10026.1/542.
MLA Handbook (7th Edition):
Shaw, Martin. “A mythography of the crossroads : how is the severance/threshold/return progression in both mythology and modern wilderness rites-of-passage established through metaphor? : an enquiry conducted through contemporary storytelling practice.” 2011. Web. 17 Feb 2020.
Vancouver:
Shaw M. A mythography of the crossroads : how is the severance/threshold/return progression in both mythology and modern wilderness rites-of-passage established through metaphor? : an enquiry conducted through contemporary storytelling practice. [Internet] [Doctoral dissertation]. University of Plymouth; 2011. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10026.1/542.
Council of Science Editors:
Shaw M. A mythography of the crossroads : how is the severance/threshold/return progression in both mythology and modern wilderness rites-of-passage established through metaphor? : an enquiry conducted through contemporary storytelling practice. [Doctoral Dissertation]. University of Plymouth; 2011. Available from: http://hdl.handle.net/10026.1/542
University of Plymouth
11.
Pearce, Michael.
Vesica : using Neolithic British ritual art and architecture as a model for making contemporary art.
Degree: PhD, 2007, University of Plymouth
URL: http://hdl.handle.net/10026.1/2574
► Can the creative practices of British Neolithic art and architecture be used in the making of contemporary art? This dissertation describes my practice making works…
(more)
▼ Can the creative practices of British Neolithic art and architecture be used in the making of contemporary art? This dissertation describes my practice making works of art based on the Neolithic model, presented in a gallery setting and occasionally in the landscape. The creative process is grounded on research into prehistoric British art and ritual architecture and records my process of understanding the work of ancient Britons as a framework for the concurrent process of making new objects for display. Without extensive research and direct experience of the Neolithic art and architecture I would not have been able to create the responsive work that has grown from it. I visited dozens of sites in England, Scotland, and Ireland, immersing myself as much as possible within them, on them and around them; I breathed the damp air and sheltered from the rain under their roofs; I ate in them, I touched, measured and aligned them. I visited them in daylight and at night; summer and winter; on solstices and ordinary days; sometimes by car but mostly on foot. I read copious texts by academic archaeologists in my effort to get into the minds of the people who made these places and got to know the archaeological scene well enough to deliver a paper at the Theoretical Archaeology Group Conference in 2005, taking questions from distinguished Professors Julian Thomas and Mike Parker Pearson. My research included the types of space that remain and explores patterns that exist within the structures, interpreting, based on the archaeology, how the places Neolithic people made might have been used in ritual; in addition it includes an exploration of the decoration and phenomena of the spaces. The process of understanding the Neolithic shaped and transformed my creative practice and profoundly affected my practice of making art and introducing a shamanic theme into the way I share it. The work I make is therefore a response to the ancient practices of the men and women, a collection of objects that a Neolithic artist might make today. Finally the thesis is concerned with identifying three strategies used by contemporary artists; Reconstructing, "Artefacting", and Responding to Neolithic spaces, then documents how these three strategies are used as models in the creation of the practical work that corresponds with the written work. Issues of presentation are explored at some length, born of the dilemmas I experienced when making decisions of where and how to show people what I had made.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Pearce, M. (2007). Vesica : using Neolithic British ritual art and architecture as a model for making contemporary art. (Doctoral Dissertation). University of Plymouth. Retrieved from http://hdl.handle.net/10026.1/2574
Chicago Manual of Style (16th Edition):
Pearce, Michael. “Vesica : using Neolithic British ritual art and architecture as a model for making contemporary art.” 2007. Doctoral Dissertation, University of Plymouth. Accessed February 17, 2020.
http://hdl.handle.net/10026.1/2574.
MLA Handbook (7th Edition):
Pearce, Michael. “Vesica : using Neolithic British ritual art and architecture as a model for making contemporary art.” 2007. Web. 17 Feb 2020.
Vancouver:
Pearce M. Vesica : using Neolithic British ritual art and architecture as a model for making contemporary art. [Internet] [Doctoral dissertation]. University of Plymouth; 2007. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10026.1/2574.
Council of Science Editors:
Pearce M. Vesica : using Neolithic British ritual art and architecture as a model for making contemporary art. [Doctoral Dissertation]. University of Plymouth; 2007. Available from: http://hdl.handle.net/10026.1/2574
University of Plymouth
12.
da Nobrega, Carlos Augusto Moreira.
Art and technology : coherence, connectedness, and the integrative field.
Degree: PhD, 2009, University of Plymouth
URL: http://hdl.handle.net/10026.1/2248
► This thesis is a theoretical and practical intervention in the field of art and technology. It proceeds from the re-examination of four specific domains that…
(more)
▼ This thesis is a theoretical and practical intervention in the field of art and technology. It proceeds from the re-examination of four specific domains that in the past 40 years have considerably informed the invention of new aesthetic forms. They are: art, science, nature and technology. We have identified that each one of these domains and the way they inform one another reflects the influence of a Western analytical tradition based on fragmentation, dichotomies and dualities. In consequence of this, art of the last decades has suffered from a sort of mechanistic thought which results from a predominantly weary aesthetic model, founded in dualities such as: object/process, form/behaviour, meaning/information. The main question that the present study addresses is how to overcome this predominantly reductionist inheritance and to develop an aesthetic model able to interconnect in an integrative fashion those disparate domains, respective discourses and practices? The answer to this question, developed throughout this thesis, is an aesthetic principle built upon the notions of resonance, coherence and field models, rooted in an integrative view of living organisms based on the theory of biophotons. This constitutes the main contribution of the thesis to new knowledge. The theoretical approach of this thesis is developed upon the revision of the concept of form, supported by a Gestalt analysis as provided by Rudolf Arnheim, and has involved the consideration of the ideas of Gilbert Simondon (the concept of "concretisation") and Vilem Flusser (the concept of "apparatus"), in order to gain a deeper insight into the nature of technology. In conclusion, the practice-based methodology of this thesis has been to develop artworks based on the confluence of living organisms (plants) and artificial systems in order to permit empirical observation and reflection on the proposed theory. The major outcome of the practice is the artwork "Breathing", a hybrid creature made of a living organism (a plant) and an artificial system. The creature responds to its environment through movement, light and the noise of its mechanical parts and interacts with the observer through his/her act of breathing. This work is the result of an investigation into plants as sensitive agents for the creation of art. The intention was to explore new forms of artistic experience through the dialogue of natural and artificial processes.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
da Nobrega, C. A. M. (2009). Art and technology : coherence, connectedness, and the integrative field. (Doctoral Dissertation). University of Plymouth. Retrieved from http://hdl.handle.net/10026.1/2248
Chicago Manual of Style (16th Edition):
da Nobrega, Carlos Augusto Moreira. “Art and technology : coherence, connectedness, and the integrative field.” 2009. Doctoral Dissertation, University of Plymouth. Accessed February 17, 2020.
http://hdl.handle.net/10026.1/2248.
MLA Handbook (7th Edition):
da Nobrega, Carlos Augusto Moreira. “Art and technology : coherence, connectedness, and the integrative field.” 2009. Web. 17 Feb 2020.
Vancouver:
da Nobrega CAM. Art and technology : coherence, connectedness, and the integrative field. [Internet] [Doctoral dissertation]. University of Plymouth; 2009. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10026.1/2248.
Council of Science Editors:
da Nobrega CAM. Art and technology : coherence, connectedness, and the integrative field. [Doctoral Dissertation]. University of Plymouth; 2009. Available from: http://hdl.handle.net/10026.1/2248
University of Plymouth
13.
Howarth, Lucy Harriet Amy.
Marlow Moss (1889-1958).
Degree: PhD, 2008, University of Plymouth
URL: http://hdl.handle.net/10026.1/2528
► This thesis is the first full-length academic study of Marlow Moss in English. The methodology of this research has been to combine biographical, historical, and…
(more)
▼ This thesis is the first full-length academic study of Marlow Moss in English. The methodology of this research has been to combine biographical, historical, and analytical approaches, and the chapters (a literature review; a biographical account; an examination of gender / identity issues; a European art historical perspective; a British art historical perspective; and a critical analysis of Moss's oeuvre), function as thematic lenses through which to view Moss. It could seem that Moss's historical position, a British artist working in Europe and a European-influenced artist working in England, should have secured her a more prominent role in the history of British Constructive Art. Moss's subsequent neglect provokes questions about the construction of that history. The impetus of this research has been the retrieval of a lost personality in British and European Modernist Art. This thesis represents the most complete account of Moss's life and work to date, and the most sustained examination of her aesthetic. Gathered in the Catalogue Raisonne in appendix to this thesis are over a hundred recorded works by Moss, with images whenever possible, with all currently available information and details of provenance. Also accompanying this thesis are reproductions of photographs, of Moss and of her works, hitherto inaccessible in private collections. This research has gathered and collated extensive archival material, ranging from contemporary reviews of Moss exhibitions, to all known manuscript material relating to Moss, including unpublished letters such as those held in the Paule Vezelay Collection of the Tate Archives, which remain un-catalogued at the time of writing. Moss's relationship with Mondrian, the focus of much previous research, is addressed and clarified in this thesis. The significance of Moss's connections to Paris, the Academie Moderne and Leger, and Abstraction-Creation, and her relationship to her contemporaries, particularly Georges Vantongerloo and Max Bill, are traced. Her position in British art history is mapped, with particular attention to her exhibitions in London during the fifties. Beyond establishing Moss's absence from art historical narratives, and examining the circumstances of her neglect, this thesis primarily seeks to retrieve the position she did occupy, by exploring her working aesthetic and situating it within a specific historical and theoretical context. This context includes Moss's sexuality and the questions it raises for a critical evaluation of her achievement. Although both feminist and Queer Theorist paradigms are pertinent to this research, and are indeed included in this study, Moss is found to problematise existent theoretical categories. Moss's neglect may thus be explained by her lack of fit with prevalent historical and theoretical approaches to Constructivism, to British Modernism, and to the gendering of arts practice.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Howarth, L. H. A. (2008). Marlow Moss (1889-1958). (Doctoral Dissertation). University of Plymouth. Retrieved from http://hdl.handle.net/10026.1/2528
Chicago Manual of Style (16th Edition):
Howarth, Lucy Harriet Amy. “Marlow Moss (1889-1958).” 2008. Doctoral Dissertation, University of Plymouth. Accessed February 17, 2020.
http://hdl.handle.net/10026.1/2528.
MLA Handbook (7th Edition):
Howarth, Lucy Harriet Amy. “Marlow Moss (1889-1958).” 2008. Web. 17 Feb 2020.
Vancouver:
Howarth LHA. Marlow Moss (1889-1958). [Internet] [Doctoral dissertation]. University of Plymouth; 2008. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10026.1/2528.
Council of Science Editors:
Howarth LHA. Marlow Moss (1889-1958). [Doctoral Dissertation]. University of Plymouth; 2008. Available from: http://hdl.handle.net/10026.1/2528
University of Plymouth
14.
Collins, Timothy Martin.
Art ecology and planning : strategic concepts and creativity within the post industrial public realm.
Degree: PhD, 2007, University of Plymouth
URL: http://hdl.handle.net/10026.1/2789
► The intent of this thesis and its attendant body of practical work was to examine and test ideas and practices that can inform and expand…
(more)
▼ The intent of this thesis and its attendant body of practical work was to examine and test ideas and practices that can inform and expand the artists' role in the post-industrial public realm and its environmental context. The general focus was on transformative approaches to contemporary public art. The specific interest (and area of practice) is defined by artwork that takes an interdisciplinary approach to new forms of social creativity in the context of post-industrial environmental change. This dissertation begins with a broad literature review to understand public art and its relationship to: the public realm, ecology, nature and the environment. The intent was to understand the theory and process that inform answers to questions regarding the artists' ability to affect public policy; the ability to expand the creative act beyond singular authorship and finally the question of can we verify the impact of art? The thesis closes with two chapters describing practical work on 'Nine Mile Run' a project that developed an ecolo nPical restoration approach to post-industrial public space; also'3 Rivers 2n Nature'which focused upon the emancipation of, and a means to advocate for post industrial nature. These projects were developed with the intention to test theory through application and value through outcome. The goal was to provide a better understand of ideas that define and enable collaborative or inter-relational approaches to transformative art practice. The intention was to make a small contribution to the theoretical framework that informs the conceptualization, experience and valuation of transformative public art practices that intend to affect the material and conceptual forms of the postindustrial public realm. It is through intellectual study and ongoing practice that the three original questions are addressed with a cautionary affirmative. Other specific findings include the following. " The ongoing tension between individual freedom and social interaction is best addressed through a moral commitment to creativity in relationship to the emancipation of people, places and things. " Visual evidence can not be the sole focal point of critical engagement with transformative practice. " Transformative practices that undertake an inter-relational methodology demand ethical, responsible and distributed outcomes.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Collins, T. M. (2007). Art ecology and planning : strategic concepts and creativity within the post industrial public realm. (Doctoral Dissertation). University of Plymouth. Retrieved from http://hdl.handle.net/10026.1/2789
Chicago Manual of Style (16th Edition):
Collins, Timothy Martin. “Art ecology and planning : strategic concepts and creativity within the post industrial public realm.” 2007. Doctoral Dissertation, University of Plymouth. Accessed February 17, 2020.
http://hdl.handle.net/10026.1/2789.
MLA Handbook (7th Edition):
Collins, Timothy Martin. “Art ecology and planning : strategic concepts and creativity within the post industrial public realm.” 2007. Web. 17 Feb 2020.
Vancouver:
Collins TM. Art ecology and planning : strategic concepts and creativity within the post industrial public realm. [Internet] [Doctoral dissertation]. University of Plymouth; 2007. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10026.1/2789.
Council of Science Editors:
Collins TM. Art ecology and planning : strategic concepts and creativity within the post industrial public realm. [Doctoral Dissertation]. University of Plymouth; 2007. Available from: http://hdl.handle.net/10026.1/2789
University of Plymouth
15.
Brand, Carol Frances.
A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s.
Degree: PhD, 2011, University of Plymouth
URL: http://hdl.handle.net/10026.1/2249
► The groups of painters in England who experimented with new visual expressions of modernity between 1910 and 1915 are the subject of this historiographical research.…
(more)
▼ The groups of painters in England who experimented with new visual expressions of modernity between 1910 and 1915 are the subject of this historiographical research. More precisely, the accounts of Vorticism, Bloomsbury post-Impressionism and the modern art of painters associated with Sickert, (principally the Camden Town Group), have been critically examined over a forty year period in order to trace the narrative of their place in contemporary art criticism and their entry into histories of what soon became the recent past. This textually-based methodology has produced an insight into the forces acting upon the critical reception of a particular period subsequently seen by historians as a discrete phase in the evolution of British art. The readings of texts are organised chronologically so as to illustrate the iv formation of a historical narrative and its variants, and to show how immediate responses and retrospective evaluations connect discursively. The findings of the research have four aspects. Firstly, it has been fruitful to isolate the narrative of the years 1910-15 over forty years so as to test whether it is possible, using this longitudinal methodology, to comment productively on the integrity of this historical episode, and to establish how the narrative became a critical orthodoxy governed by a limited range of analytical perspectives. Secondly, estimations as to the quality of the art produced in these years developed a distinct, often negative, patterning in journalism and art historical writing and this is also traced in some detail over time. Dominant tropes in the critical language have been identified over this forty year period which became the default positions of historical analysis and which, I argue, impeded sophisticated or revisionist thinking. With a few notable exceptions, the analysis of early English modern art is poorly served by its commentators in this period and this weakened discursive health. Thirdly, this thesis also considers the nature and influence of, periodicals, newspapers, ‘little magazines’ and the genres of art-writing that were extant between 1910 and 1956 and relates this to the distinctions and similarities between art criticism and art history at this time. A fourth analytic strand concerns outside influences on the production of critical and historical texts. It explores the impact of promotional art writing, and exposes the professional pressures on, and rivalries between, writers and considers some of the wider political circumstances through which this particular debate on recent art was refracted.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Brand, C. F. (2011). A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s. (Doctoral Dissertation). University of Plymouth. Retrieved from http://hdl.handle.net/10026.1/2249
Chicago Manual of Style (16th Edition):
Brand, Carol Frances. “A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s.” 2011. Doctoral Dissertation, University of Plymouth. Accessed February 17, 2020.
http://hdl.handle.net/10026.1/2249.
MLA Handbook (7th Edition):
Brand, Carol Frances. “A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s.” 2011. Web. 17 Feb 2020.
Vancouver:
Brand CF. A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s. [Internet] [Doctoral dissertation]. University of Plymouth; 2011. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10026.1/2249.
Council of Science Editors:
Brand CF. A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s. [Doctoral Dissertation]. University of Plymouth; 2011. Available from: http://hdl.handle.net/10026.1/2249
University of Plymouth
16.
Dalton, Penelope.
Family and other relations : a thesis examining the extent to which family relationships shape the relations of art.
Degree: PhD, 2008, University of Plymouth
URL: http://hdl.handle.net/10026.1/2640
► This thesis is sited in contemporary issues concerning gender and identity in relation to the arts. It aims to examine the nature of the family…
(more)
▼ This thesis is sited in contemporary issues concerning gender and identity in relation to the arts. It aims to examine the nature of the family and the extent to which relationships and identities in the family might be analogous to the relations of fine art; these include relations between the artist and the artwork, between what is defined as 'art' and what is not, between the artwork and the viewer. It also touches on some of the other, innumerable relationships encountered in the arts: relations of materials form, feeling, thinking and making. The thesis contains a discussion of the nature of family identities and relationships based on my own experiences in the mid-twentieth century and today. Families are at first divided into two main types, nonnative and ethicaL These types represent the difference between ideal or stereotypical family relations and the way families actually live in practice. Analogies are made between normative families and traditional modes of defining art and ethical family relations and ethical notions of art. In the last chapter I suggest that relations that are core and normative are linked to marginal relations through ethical links made by liminal figures that pass between them. Although issues of identity, patriarchy and binary difference appear in theoretical writings on art criticism and practice, there appears to be little contemporary debate in these issues in relation to the family and its relationships. The thesis begins to map out the terrain of such a field of enquiry.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Dalton, P. (2008). Family and other relations : a thesis examining the extent to which family relationships shape the relations of art. (Doctoral Dissertation). University of Plymouth. Retrieved from http://hdl.handle.net/10026.1/2640
Chicago Manual of Style (16th Edition):
Dalton, Penelope. “Family and other relations : a thesis examining the extent to which family relationships shape the relations of art.” 2008. Doctoral Dissertation, University of Plymouth. Accessed February 17, 2020.
http://hdl.handle.net/10026.1/2640.
MLA Handbook (7th Edition):
Dalton, Penelope. “Family and other relations : a thesis examining the extent to which family relationships shape the relations of art.” 2008. Web. 17 Feb 2020.
Vancouver:
Dalton P. Family and other relations : a thesis examining the extent to which family relationships shape the relations of art. [Internet] [Doctoral dissertation]. University of Plymouth; 2008. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10026.1/2640.
Council of Science Editors:
Dalton P. Family and other relations : a thesis examining the extent to which family relationships shape the relations of art. [Doctoral Dissertation]. University of Plymouth; 2008. Available from: http://hdl.handle.net/10026.1/2640
17.
Ford, Felicity Valerie.
The Domestic Soundscape and beyond : presenting everyday sounds to audiences.
Degree: PhD, 2010, Oxford Brookes University
URL: http://radar.brookes.ac.uk/radar/items/7e50609e-9838-91b2-a2fc-86103493075a/1
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543795
► This PhD submission contains a select portfolio of practical works that have been created in answer to my research questions. This Thesis contextualises those works…
(more)
▼ This PhD submission contains a select portfolio of practical works that have been created in answer to my research questions. This Thesis contextualises those works in a theoretical framework, linking them explicitly to the academic discourses with which they are inexorably bound. The introduction of this Thesis examines the research context in which research questions were formed. Evaluating a complicated previous project and describing a seminal, difficult encounter with the realm of sound art, this section explores some of the problems involved with presenting everyday sounds to audiences and proposes that these problems might in part be solved by forming new presentational strategies. Problems discussed include the difficulty of presenting everyday sounds to audiences who do not have access to the same information and knowledge that the work’s creator(s) have; presenting everyday sounds to audiences in conditions which offer limited scope for interaction and participation; and presenting everyday sounds to audiences which rely specifically on the primacy of those sounds alone to communicate a message to listeners. The questions that are formed in order to begin solving these problems include looking to feminist art practices of the 1960s/70s for inspiration regarding how theories concerning the value of everyday sounds might be practically applied to artmaking in domestic contexts; exploring ethnographic or Anthropological models to see how everyday sounds might be presented to audiences through investigative, participatory formats; investigating the possibilities for subverting or expanding the frameworks through which sound art is typically disseminated so that that territory might better accommodate the specific resonances and associations of everyday sounds; and proposing Internet-based strategies for presenting everyday sounds to audiences which are inherently intertextual, participatory, and social. The first Chapter of this Thesis examines how the home might be re-envisioned as a sound art site and brings the theories of John Cage together with feminist art thought to reinvent that space as a specifically sonic site. In the second Chapter, investigative anthropological approaches to the everyday are the focus of the discussion. This Chapter explores the context of radio as an inherently domestic medium, and discusses how it might be used as such for the presentation of everyday sounds to audiences. In the third Chapter of this thesis, I position my research in relation to the established tenets of contemporary sound art. Exploring ideas of subversion and critique, this Chapter looks at the proposed revisions to those established tenets which I have offered throughout my research. The final Chapter explores how I have used the Internet both in specific instances and more generally within my practice, connecting my research with emergent recording technologies and Internet platforms which allow everyday sounds to be socially shared. In the conclusion, I discuss what the key findings of exploring these…
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Ford, F. V. (2010). The Domestic Soundscape and beyond : presenting everyday sounds to audiences. (Doctoral Dissertation). Oxford Brookes University. Retrieved from http://radar.brookes.ac.uk/radar/items/7e50609e-9838-91b2-a2fc-86103493075a/1 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543795
Chicago Manual of Style (16th Edition):
Ford, Felicity Valerie. “The Domestic Soundscape and beyond : presenting everyday sounds to audiences.” 2010. Doctoral Dissertation, Oxford Brookes University. Accessed February 17, 2020.
http://radar.brookes.ac.uk/radar/items/7e50609e-9838-91b2-a2fc-86103493075a/1 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543795.
MLA Handbook (7th Edition):
Ford, Felicity Valerie. “The Domestic Soundscape and beyond : presenting everyday sounds to audiences.” 2010. Web. 17 Feb 2020.
Vancouver:
Ford FV. The Domestic Soundscape and beyond : presenting everyday sounds to audiences. [Internet] [Doctoral dissertation]. Oxford Brookes University; 2010. [cited 2020 Feb 17].
Available from: http://radar.brookes.ac.uk/radar/items/7e50609e-9838-91b2-a2fc-86103493075a/1 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543795.
Council of Science Editors:
Ford FV. The Domestic Soundscape and beyond : presenting everyday sounds to audiences. [Doctoral Dissertation]. Oxford Brookes University; 2010. Available from: http://radar.brookes.ac.uk/radar/items/7e50609e-9838-91b2-a2fc-86103493075a/1 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543795
18.
Bin Khairani, Mohd Zahuri.
Contemporary art, craft and hybridity : Malaysian encounters and responses.
Degree: PhD, 2011, Sheffield Hallam University
URL: http://shura.shu.ac.uk/19907/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543887
► This practice-based research examines the importance of expanding the Malaysian visual culture heritage in light of the enormous impact of hybridity on art and craft…
(more)
▼ This practice-based research examines the importance of expanding the Malaysian visual culture heritage in light of the enormous impact of hybridity on art and craft in Malaysia. The research addresses the question of the impact of hybridity on art and visual culture by focusing on production of artworks from indigenous Malaysian craft - traditional fabrics Pua Kumbu and Batik, and the Sarawakian layer cakes. The main objectives of this research are to understand the problems, consequences and effects of hybridity on art and visual culture and to produce artefacts that explicitly illuminate a new understanding of the dynamic that obtains between hybridity, contemporary art and craft traditions in the Malaysian context. Questions pertaining to the affects of hybridity and globalisation towards Malaysian politics, economy and social aspects were addressed in the artworks as a key aspect of this research. Furthermore, development of the Malaysian art scene in relation with hybridity will be discussed in the light of contemporary art progression historically. Analysis of the theory of hybridity, connections between hybridity in art via the works of international and local artists, will put forward to clarify theses areas. This will include exploration of the issue of national identity. This research will engage in the production of artefacts in the context of a varied studio practice, developing and employing throughout the course of the research materials and techniques deemed appropriate in the production of artefacts that embody the quality of 'local' cultural forms in dialogue with, or resistant to, forms associated with an exogenous, 'global' culture. The artwork production opens up the phenomenon of the current process of hybridity and the issue of Malaysia's national identity. This research will adopt descriptive, heuristic and comparative methods within an overarching practice-led methodology. The building, implementation and evaluation of methodology together which include exhibitions and audience are the key components of this research. Critical review of the production of artworks is seen to be an integral part of the research methodology; this process will encourage and sustain multi-disciplinary approaches to the research question. This research has revealed the connection between hybridity and the advancement of the Malaysia contemporary art movement that has been undergoing transformation through the process of modernisation. Above all, as a Malaysian artist working in the United Kingdom, my practice differs from the normal practice of Malaysian artists who translate "Malay" culture into art work in that it offers a critical view on political, economical and social issues in Malaysia.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Bin Khairani, M. Z. (2011). Contemporary art, craft and hybridity : Malaysian encounters and responses. (Doctoral Dissertation). Sheffield Hallam University. Retrieved from http://shura.shu.ac.uk/19907/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543887
Chicago Manual of Style (16th Edition):
Bin Khairani, Mohd Zahuri. “Contemporary art, craft and hybridity : Malaysian encounters and responses.” 2011. Doctoral Dissertation, Sheffield Hallam University. Accessed February 17, 2020.
http://shura.shu.ac.uk/19907/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543887.
MLA Handbook (7th Edition):
Bin Khairani, Mohd Zahuri. “Contemporary art, craft and hybridity : Malaysian encounters and responses.” 2011. Web. 17 Feb 2020.
Vancouver:
Bin Khairani MZ. Contemporary art, craft and hybridity : Malaysian encounters and responses. [Internet] [Doctoral dissertation]. Sheffield Hallam University; 2011. [cited 2020 Feb 17].
Available from: http://shura.shu.ac.uk/19907/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543887.
Council of Science Editors:
Bin Khairani MZ. Contemporary art, craft and hybridity : Malaysian encounters and responses. [Doctoral Dissertation]. Sheffield Hallam University; 2011. Available from: http://shura.shu.ac.uk/19907/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543887
19.
Barratt, Mary-lou.
We are the revolution? : the 'creative social action' of La Fiambrera, Skart and Superflex, and its contribution to sustainable social change.
Degree: PhD, 2010, Oxford Brookes University
URL: https://radar.brookes.ac.uk/radar/items/42b3d191-b68a-e550-ff0b-972c81ec3dcf/1/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543816
► "We are the revolution?" begins by introducing the type of art practices being studied, collectively referred to here as ‗creative social action,‘ and explaining the…
(more)
▼ "We are the revolution?" begins by introducing the type of art practices being studied, collectively referred to here as ‗creative social action,‘ and explaining the nature of their revolutionary intentions. It then shows that such art practices are in need of a critical framework; specifically, a means of examining their contribution to sustainable social changes. Having established that creative social action lacks an apposite or robust critical framework, and that such a framework is an essential tool, the study sets out to address this. Initially the study surveys a significant number of practices in order to identify core threads of creative social action. Through this, three threads of particular significance are identified; utopianism, participation and value-orientation. These threads are then examined in depth through recent critical writings on each, which takes the research into several different disciplinary territories and alternative concepts of revolution, as a slow, creative, permanent and almost imperceptible process. Subsequently, aspects of these writings and concepts are synthesised to provide an evaluative approach that is original in its transdisciplinarity and its depth of vision. The study uses its newly formed evaluative tools to unpack three carefully chosen cases of creative social action; Skart, Superflex and La Fiambrera. Accordingly, the utopianism, participatory strategies and value-orientation of these cases are explored in depth. Through this, and further development of an alternative concept of revolution, the study shows that in this sense the practices in question appear to be revolutionary. By developing a comprehensive critical understanding of creative social action, and its relationship with radical social change, the study makes a significant contribution to the field. By not providing definitive answers regarding creative social action‘s contribution to revolutionary changes, the study makes an equally significant contribution. In examining the transformative potential of these practices, the study draws attention to the need to value qualities such as complexity and flexibility, and shows that focusing on tendencies rather than absolutes, and generating furtherquestions rather than arriving at neat answers, is not a weakness but a revolutionary force.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Barratt, M. (2010). We are the revolution? : the 'creative social action' of La Fiambrera, Skart and Superflex, and its contribution to sustainable social change. (Doctoral Dissertation). Oxford Brookes University. Retrieved from https://radar.brookes.ac.uk/radar/items/42b3d191-b68a-e550-ff0b-972c81ec3dcf/1/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543816
Chicago Manual of Style (16th Edition):
Barratt, Mary-lou. “We are the revolution? : the 'creative social action' of La Fiambrera, Skart and Superflex, and its contribution to sustainable social change.” 2010. Doctoral Dissertation, Oxford Brookes University. Accessed February 17, 2020.
https://radar.brookes.ac.uk/radar/items/42b3d191-b68a-e550-ff0b-972c81ec3dcf/1/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543816.
MLA Handbook (7th Edition):
Barratt, Mary-lou. “We are the revolution? : the 'creative social action' of La Fiambrera, Skart and Superflex, and its contribution to sustainable social change.” 2010. Web. 17 Feb 2020.
Vancouver:
Barratt M. We are the revolution? : the 'creative social action' of La Fiambrera, Skart and Superflex, and its contribution to sustainable social change. [Internet] [Doctoral dissertation]. Oxford Brookes University; 2010. [cited 2020 Feb 17].
Available from: https://radar.brookes.ac.uk/radar/items/42b3d191-b68a-e550-ff0b-972c81ec3dcf/1/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543816.
Council of Science Editors:
Barratt M. We are the revolution? : the 'creative social action' of La Fiambrera, Skart and Superflex, and its contribution to sustainable social change. [Doctoral Dissertation]. Oxford Brookes University; 2010. Available from: https://radar.brookes.ac.uk/radar/items/42b3d191-b68a-e550-ff0b-972c81ec3dcf/1/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543816
Goldsmiths College (University of London)
20.
Ganani-Tomares, Dafna.
Mimesis : Judith Butler, visual practice, tragic art.
Degree: PhD, 2007, Goldsmiths College (University of London)
URL: http://research.gold.ac.uk/178/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.524889
► The project grounds the use of mimesis in my video art practice. In the written element I query equivalence between mimesis and performativity in Judith…
(more)
▼ The project grounds the use of mimesis in my video art practice. In the written element I query equivalence between mimesis and performativity in Judith Butler's conception; I consider the tragic and hyperbolic faculties of these, as ways of promoting expansion of context in received convention. My video clips have performance in them and mime destructive regimes in mainstream conventions of visual culture, of sexual identity and of political position, to challange these. They mobilize convention and deviation from it, through ineptitude of performance or my ambiguous relation to the convention that I use. Butler conceives the generative possibility in regulation (prohibition and/or "law). This is my source for prioritizing failure, and conceiving mimesis a practice of power in modification. Philippe Lacoue-Labarthe is an additional source in my writing, and Luce Irigaray a hovering presence. They are deployed to support my conviction that speculative theory mimes tragic art; Hegelian dialectical philosophy and Freudian psychoanalytic discourse founded in tragic art endow a mutual system of logic and belief that mobilizes rejection of 'difference'. In these tragic discourses mimesis links death and desire. As a force in hyperbole and the constitutive site of all discursive and artistic conventions or tropes, mimesis may suspend as much as confirm the very truths it promotes. Mimesis may turn or exceed anything that can be mimed - I propose. Throughout the project (art practice and written element) I ask - 'how is it possible to re-conceive the terms of the representational conventions to which I object without sharing in the mechanisms that demote those terms?'
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Ganani-Tomares, D. (2007). Mimesis : Judith Butler, visual practice, tragic art. (Doctoral Dissertation). Goldsmiths College (University of London). Retrieved from http://research.gold.ac.uk/178/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.524889
Chicago Manual of Style (16th Edition):
Ganani-Tomares, Dafna. “Mimesis : Judith Butler, visual practice, tragic art.” 2007. Doctoral Dissertation, Goldsmiths College (University of London). Accessed February 17, 2020.
http://research.gold.ac.uk/178/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.524889.
MLA Handbook (7th Edition):
Ganani-Tomares, Dafna. “Mimesis : Judith Butler, visual practice, tragic art.” 2007. Web. 17 Feb 2020.
Vancouver:
Ganani-Tomares D. Mimesis : Judith Butler, visual practice, tragic art. [Internet] [Doctoral dissertation]. Goldsmiths College (University of London); 2007. [cited 2020 Feb 17].
Available from: http://research.gold.ac.uk/178/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.524889.
Council of Science Editors:
Ganani-Tomares D. Mimesis : Judith Butler, visual practice, tragic art. [Doctoral Dissertation]. Goldsmiths College (University of London); 2007. Available from: http://research.gold.ac.uk/178/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.524889
Cardiff University
21.
Ward, Alexandra.
Archaeology, heritage and identity : the creation and development of a national museum in Wales.
Degree: PhD, 2008, Cardiff University
URL: http://orca.cf.ac.uk/54744/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.584345
► This thesis examines selected issues, events, episodes and timeframes in the early life of the National Museum of Wales in order to analyse influential and…
(more)
▼ This thesis examines selected issues, events, episodes and timeframes in the early life of the National Museum of Wales in order to analyse influential and defining aspects in its complex past. It provides a critical perspective on the cultural processes surrounding the foundation and development of the Museum, as well as the array of identities, archaeologies and representations produced. A further aim is to identify and deconstruct the trajectories of research and thought within the Museum's Archaeological department during the early 20th century. The thesis seeks to demonstrate the complexities of the museum experience and to highlight the nuances and subtleties within the national context. It provides a contextual view of the initial movement to establish a national museum and antiquities collection, and subsequently focuses mainly on critical aspects in the development, research and interpretive practices of the Archaeological department. While some awareness exists across the archaeological and museum spectrum that figures such as Sir R.E. Mortimer Wheeler and Sir Cyril Fox spent part of their archaeological careers at the National Museum of Wales, there has to date been no focused, critical analysis of their active roles in shaping, and contributing to, archaeological practice within the Museum itself and within the wider contexts of Welsh and British archaeology. Closer examination of the curatorial and personnel structures in the Museum raises important questions regarding research agendas, the ways in which the material culture collections were augmented, interpreted and displayed, and conflicting political ideologies. Additionally, it draws attention to the dynamics of curatorial practice and representation in a national institutional context. Studying the period of time between the initial move to establish a national museum in the 1890s and the development of a national archaeological collection in the 1920s/30s, reveals the shifts and transformations in cultural politics, institutional practices and museological philosophies.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Ward, A. (2008). Archaeology, heritage and identity : the creation and development of a national museum in Wales. (Doctoral Dissertation). Cardiff University. Retrieved from http://orca.cf.ac.uk/54744/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.584345
Chicago Manual of Style (16th Edition):
Ward, Alexandra. “Archaeology, heritage and identity : the creation and development of a national museum in Wales.” 2008. Doctoral Dissertation, Cardiff University. Accessed February 17, 2020.
http://orca.cf.ac.uk/54744/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.584345.
MLA Handbook (7th Edition):
Ward, Alexandra. “Archaeology, heritage and identity : the creation and development of a national museum in Wales.” 2008. Web. 17 Feb 2020.
Vancouver:
Ward A. Archaeology, heritage and identity : the creation and development of a national museum in Wales. [Internet] [Doctoral dissertation]. Cardiff University; 2008. [cited 2020 Feb 17].
Available from: http://orca.cf.ac.uk/54744/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.584345.
Council of Science Editors:
Ward A. Archaeology, heritage and identity : the creation and development of a national museum in Wales. [Doctoral Dissertation]. Cardiff University; 2008. Available from: http://orca.cf.ac.uk/54744/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.584345
Loughborough University
22.
Zimna, Katarzyna.
Play in the theory and practice of art.
Degree: PhD, 2010, Loughborough University
URL: https://dspace.lboro.ac.uk/2134/6277
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519949
► This thesis focuses on the notion of play in the theory and practice of art in the 20th and 21st centuries. I approach play both…
(more)
▼ This thesis focuses on the notion of play in the theory and practice of art in the 20th and 21st centuries. I approach play both as an internal element of the concept of art (following the philosophical tradition) and as the external model for the creative process (as applied by modern and postmodern artists). The main purpose is to produce an interpretation of play that would span various, often contradictory, features of this concept and would serve to reinterpret the notion of artistic representation, traditionally linked with the vocabulary and approaches coming from the domain of work (production, mastery, preconceived outcomes, fixity, and the nature/culture dichotomy). My thesis defends representation, however, supplemented with the notion of play. In my project of highlighting the role of play in the discourse of art and aesthetics, I draw on Jacques Derrida's reading of Kant and Plato. Derrida s analysis of the logic of supplementarity in Western thought and terms such as parergon, pharmakon and undecidable, help me to argue that the ambivalence of play and the movement in between the opposites allow us to understand play as a condition of artistic representation. I also use Mihaly Spariosu's distinction between the interpretations of play as rational or prerational to inscribe play into the argument between representation and non-representation in the theory and practice of art. In terms of practice, I link the emergence of the strategy of play with the rhetorics of primitivism in modern avant-gardes from Dada to Fluxus. I analyse play as a tool of transgression and an attractive supplement of the creative process a way to activate the public and change the traditional proper function (ergon) of art. I trace the assimilation of play in recent participatory (relational, dialogic) art intended to go beyond representation. I argue that play has become a commonly used tactic and an undercurrent of today's artistic and social network. In the final discussion I reinterpret the notions of work (ergon, essence) and play (parergon, supplement) in the light of the 20th century artistic revolution. Using vocabulary and approaches coming from the domain of play (and specifically Role-Playing Game) I attempt to overcome the prejudice against the notion of representation.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Zimna, K. (2010). Play in the theory and practice of art. (Doctoral Dissertation). Loughborough University. Retrieved from https://dspace.lboro.ac.uk/2134/6277 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519949
Chicago Manual of Style (16th Edition):
Zimna, Katarzyna. “Play in the theory and practice of art.” 2010. Doctoral Dissertation, Loughborough University. Accessed February 17, 2020.
https://dspace.lboro.ac.uk/2134/6277 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519949.
MLA Handbook (7th Edition):
Zimna, Katarzyna. “Play in the theory and practice of art.” 2010. Web. 17 Feb 2020.
Vancouver:
Zimna K. Play in the theory and practice of art. [Internet] [Doctoral dissertation]. Loughborough University; 2010. [cited 2020 Feb 17].
Available from: https://dspace.lboro.ac.uk/2134/6277 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519949.
Council of Science Editors:
Zimna K. Play in the theory and practice of art. [Doctoral Dissertation]. Loughborough University; 2010. Available from: https://dspace.lboro.ac.uk/2134/6277 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519949
University of Leicester
23.
Gestsson, Magnus.
Commercial galleries in Copenhagen, London and Reykjavík : a comparative study of the formations, contexts and interactions of galleries founded between 1985 and 2002.
Degree: PhD, 2009, University of Leicester
URL: http://hdl.handle.net/2381/9475
► This study situates the commercial gallery operator, or ‘gallerist’, in the context of art world conceptions. Specifically it examines the contexts and activities of gallerists…
(more)
▼ This study situates the commercial gallery operator, or ‘gallerist’, in the context of art world conceptions. Specifically it examines the contexts and activities of gallerists in Copenhagen, London’s East End and in Reykjavik in the era of the Young British Artists and the revitalised art market that phenomenon engendered. Drawing upon interviews with gallerists and studies of urban culture and environments, this thesis reveals that gallerists are driven by creativity and artistic vision, often at the expense of market awareness. The London and Copenhagen gallerists saw themselves as pioneers who through their actions not only established new art businesses but developed new cultural quarters in these cities. The tiny capital city of Reykjavík exposed the significance of scale and position; its new galleries remained within the comfort zone of established art institutions in the city centre. They were small and internationally isolated, and appeared much like those found in provincial cities in larger countries. Copenhagen also lacked the world city status of London and its gallerists sought recognition and buyers through international art fairs. In contrast, London found itself at the heart of an international art world. Galleries were established in such numbers in the East End as to produce an art world momentum of its own. Gallerists in the more cosmopolitan settings of London and Copenhagen possessed a greater sense of community; those in constrained markets of Reykjavik retained a small-town competitiveness. The creative desires of gallerists were also reflected in their proactive pursuit of artists; it was they who decided what to show and who to patronise. While the majority of gallerists favoured art with a conceptual edge, all denied that they were specialising in this work. They emphasised the diversity of the works on sale. The London and Copenhagen markets were mature markets but those in Reykjavík appeared more regulated. Within these cities it was possible by these means to detect distinctive art worlds as products of, and woven into, the cities they inhabited.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Gestsson, M. (2009). Commercial galleries in Copenhagen, London and Reykjavík : a comparative study of the formations, contexts and interactions of galleries founded between 1985 and 2002. (Doctoral Dissertation). University of Leicester. Retrieved from http://hdl.handle.net/2381/9475
Chicago Manual of Style (16th Edition):
Gestsson, Magnus. “Commercial galleries in Copenhagen, London and Reykjavík : a comparative study of the formations, contexts and interactions of galleries founded between 1985 and 2002.” 2009. Doctoral Dissertation, University of Leicester. Accessed February 17, 2020.
http://hdl.handle.net/2381/9475.
MLA Handbook (7th Edition):
Gestsson, Magnus. “Commercial galleries in Copenhagen, London and Reykjavík : a comparative study of the formations, contexts and interactions of galleries founded between 1985 and 2002.” 2009. Web. 17 Feb 2020.
Vancouver:
Gestsson M. Commercial galleries in Copenhagen, London and Reykjavík : a comparative study of the formations, contexts and interactions of galleries founded between 1985 and 2002. [Internet] [Doctoral dissertation]. University of Leicester; 2009. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/2381/9475.
Council of Science Editors:
Gestsson M. Commercial galleries in Copenhagen, London and Reykjavík : a comparative study of the formations, contexts and interactions of galleries founded between 1985 and 2002. [Doctoral Dissertation]. University of Leicester; 2009. Available from: http://hdl.handle.net/2381/9475
University of Leicester
24.
Barnes, Amy Jane.
From revolution to commie kitsch : (re)-presenting China in contemporary British museums through the visual culture of the Cultural Revolution.
Degree: PhD, 2010, University of Leicester
URL: http://hdl.handle.net/2381/8282
► To date, the study of communist visual culture in the museum environment has been limited. While interest in revolutionary art continues to develop thanks to…
(more)
▼ To date, the study of communist visual culture in the museum environment has been limited. While interest in revolutionary art continues to develop thanks to its twenty-first century appropriation and ‘kitschification’ in Western contexts, communist art remains problematic. Taking Saidian discourse as a theoretical starting point, this thesis explores the collection, interpretation and display of the visual culture of the Chinese Cultural Revolution (1966-1976) in contemporary British museums. It explores the image of China in the popular consciousness and looks for intersections between the contemporary political Sino-British relationship and interpretive approaches to this material. The historiographical survey analyses contemporary primary sources to reveal images of the Cultural Revolution during three periods which correspond with mind shifts in the British response to China. Interviews with key members of curatorial staff situate the thesis in contemporary practice. The thesis is divided into three sections. The first, the ‘pre-historical’ context to the main body of the thesis establishes a methodological approach, theoretical grounding and surveys the Sino-British relationship from the Enlightenment to the foundation of the People’s Republic of China in 1949. Section 2 looks at the contemporary British response to the Cultural Revolution and how these visions of China were translated into exhibitionary practice. Section 3 explores the collections and practice of three case studies. It examines the different and diverse reasons for the establishment of these collections and how they have interpreted (as art, artefact or document). The thesis concludes with the argument that museums and collecting institutions have a key role to play in the difficult debate which envelopes the West’s historical response to communism and the legacy of the Cultural Revolution, in the light of challenges to the grand narrative.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Barnes, A. J. (2010). From revolution to commie kitsch : (re)-presenting China in contemporary British museums through the visual culture of the Cultural Revolution. (Doctoral Dissertation). University of Leicester. Retrieved from http://hdl.handle.net/2381/8282
Chicago Manual of Style (16th Edition):
Barnes, Amy Jane. “From revolution to commie kitsch : (re)-presenting China in contemporary British museums through the visual culture of the Cultural Revolution.” 2010. Doctoral Dissertation, University of Leicester. Accessed February 17, 2020.
http://hdl.handle.net/2381/8282.
MLA Handbook (7th Edition):
Barnes, Amy Jane. “From revolution to commie kitsch : (re)-presenting China in contemporary British museums through the visual culture of the Cultural Revolution.” 2010. Web. 17 Feb 2020.
Vancouver:
Barnes AJ. From revolution to commie kitsch : (re)-presenting China in contemporary British museums through the visual culture of the Cultural Revolution. [Internet] [Doctoral dissertation]. University of Leicester; 2010. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/2381/8282.
Council of Science Editors:
Barnes AJ. From revolution to commie kitsch : (re)-presenting China in contemporary British museums through the visual culture of the Cultural Revolution. [Doctoral Dissertation]. University of Leicester; 2010. Available from: http://hdl.handle.net/2381/8282
University of Leicester
25.
Maculan, Lena.
Researching podcasting in museums : can new broadcasting models of publication make art more accessible?.
Degree: PhD, 2008, University of Leicester
URL: http://hdl.handle.net/2381/4015
► During times of continuing growth of digital resources for teaching, learning and research, the key objective of this study is to evaluate the genuine suitability…
(more)
▼ During times of continuing growth of digital resources for teaching, learning and research, the key objective of this study is to evaluate the genuine suitability of online publishing tools – podcasting in particular – as a means to make art more accessible. The first part of the thesis addresses the nature of the changes which affect museums today: the rapid digitisation of culture, changes in the way artists produce, museums present and audiences consume art, and finally the challenges and opportunities which arise for museums within a Web 2.0 environment. The analysis of these key contexts in which museums operate today, will build the theoretical basis of the thesis. The second part of the thesis subjected the theories developed in the first part to empirical study. It is structured around three case studies (CS). CS1 investigates why museums have started to do podcasts. Data was generated through a series of interviews with museum professionals. CS 2 investigates user-behaviour. An online survey commissioned by the Ars Electronica Center and conducted by the author sits at the heart of this enquiry into user-behaviour. Using Critical Discourse Analysis (CDA) as methodology, CS 3 investigates the possible impact upon the relationship between museums and audiences. The main outcomes of this thesis are: a typology of museum podcasts, an insight into user-behaviour and a methodology for assessing the impact of podcasting on the relationship between museums and their audiences. Taken together the data generated brings into focus the real opportunities of podcasting, as a suitable medium for making the museum experience more accessible, engaging and immediate.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Maculan, L. (2008). Researching podcasting in museums : can new broadcasting models of publication make art more accessible?. (Doctoral Dissertation). University of Leicester. Retrieved from http://hdl.handle.net/2381/4015
Chicago Manual of Style (16th Edition):
Maculan, Lena. “Researching podcasting in museums : can new broadcasting models of publication make art more accessible?.” 2008. Doctoral Dissertation, University of Leicester. Accessed February 17, 2020.
http://hdl.handle.net/2381/4015.
MLA Handbook (7th Edition):
Maculan, Lena. “Researching podcasting in museums : can new broadcasting models of publication make art more accessible?.” 2008. Web. 17 Feb 2020.
Vancouver:
Maculan L. Researching podcasting in museums : can new broadcasting models of publication make art more accessible?. [Internet] [Doctoral dissertation]. University of Leicester; 2008. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/2381/4015.
Council of Science Editors:
Maculan L. Researching podcasting in museums : can new broadcasting models of publication make art more accessible?. [Doctoral Dissertation]. University of Leicester; 2008. Available from: http://hdl.handle.net/2381/4015
University of Newcastle Upon Tyne
26.
Keay, Catherine.
Unforeseen outcomes : the role of aleatory and rhizomic processes in sculptural form and text equivalents.
Degree: PhD, 2011, University of Newcastle Upon Tyne
URL: http://hdl.handle.net/10443/1124
► Unforeseen Outcomes: The Role of Aleatory and Rhizomic Processes in Sculptural Form and Written Equivalents The aims of this research are subsumed under two main…
(more)
▼ Unforeseen Outcomes: The Role of Aleatory and Rhizomic Processes in Sculptural Form and Written Equivalents The aims of this research are subsumed under two main questions: • What means and materials can be used to balance the relinquishing of authorial control in sculptural production with outcomes which retain formal and semantic coherence? • Is it possible to devise a written equivalent both to elucidate this aim and reflect subjective creative processes in sculptural practice? The research aimed to apply aleatory, generative and research-based approaches to contemporary art practice in order to articulate an experience of abjection. A review of relevant writing on these themes developed an argument for abjection to be understood as a state of ambiguity or being overwhelmed. A review of relevant artworks suggested clay, physical text and natural processes of change as materials and methods appropriate to answering the first research question. The work submitted in response to this comprises three distinct but connected bodies of art work: • Four terracotta sculptures of script, submerged in seawater, as substrates for living marine organisms to determine the final form of the works. • Eight large sculptures, an accompanying etching and two videos whereby monologue was rendered in extruded clay and shaped by gravity to express the vulnerability of its speaker. • Six digital prints in which interventions by colonies of ants on ineffectual imperative slogans are juxtaposed with photographs of 1930s Italian architecture for children. In response to the second research question, and in line with the aleatory strategies of writers and artists influential on this project, five separate booklets without a predetermined sequence present background research relevant to particular aspects of this practical work. The writing of these reflexive discourses draws on the prose style of Sebald, a writer whose work is analogous to the creative processes of contemporary visual artists. Deleuze and Guattari’s concept of the rhizome provides a non hierarchical model for such practice as a structure which establishes connectivity between apparently disparate ideas. In the thesis, the production of the above works are described and discussed in relation to the contextual review and thematic concerns. The contributions of the research are outlined. The adoption of chance strategies and generative processes enables a fresh understanding of abjection to be expressed in contemporary sculpture; these are best deployed when the artist embraces abjection by allowing these processes to overwhelm their work. The more artistic control is relinquished to aleatory practice, the more innovative such strategies are in articulating this idea of abjection. Directions for future research building on these conclusions are suggested.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Keay, C. (2011). Unforeseen outcomes : the role of aleatory and rhizomic processes in sculptural form and text equivalents. (Doctoral Dissertation). University of Newcastle Upon Tyne. Retrieved from http://hdl.handle.net/10443/1124
Chicago Manual of Style (16th Edition):
Keay, Catherine. “Unforeseen outcomes : the role of aleatory and rhizomic processes in sculptural form and text equivalents.” 2011. Doctoral Dissertation, University of Newcastle Upon Tyne. Accessed February 17, 2020.
http://hdl.handle.net/10443/1124.
MLA Handbook (7th Edition):
Keay, Catherine. “Unforeseen outcomes : the role of aleatory and rhizomic processes in sculptural form and text equivalents.” 2011. Web. 17 Feb 2020.
Vancouver:
Keay C. Unforeseen outcomes : the role of aleatory and rhizomic processes in sculptural form and text equivalents. [Internet] [Doctoral dissertation]. University of Newcastle Upon Tyne; 2011. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10443/1124.
Council of Science Editors:
Keay C. Unforeseen outcomes : the role of aleatory and rhizomic processes in sculptural form and text equivalents. [Doctoral Dissertation]. University of Newcastle Upon Tyne; 2011. Available from: http://hdl.handle.net/10443/1124
University of Newcastle Upon Tyne
27.
Lambert, Janet Katharine.
Experiencing place : mapping connectivity in the North Pennines.
Degree: PhD, 2011, University of Newcastle Upon Tyne
URL: http://hdl.handle.net/10443/1149
► This study of Bruthwaite Forest in north Cumbria investigates interaction with a changing rural landscape, seeking to map connectivity by transcribing subjective experience of place.…
(more)
▼ This study of Bruthwaite Forest in north Cumbria investigates interaction with a changing rural landscape, seeking to map connectivity by transcribing subjective experience of place. The random exercise of walking stimulates thoughts and observations that generate a textual and visual narrative of personal involvement in the landscape. Intensive fieldwork and historical research are the basis of an art practice that embodies the material reality of the place in the creation of new artefacts that investigate and comment upon structural change and decay, the topography of place-names, and the human traits of finding and collection. The research area is defined by the boundary of a former hunting forest, now mostly within the Geltsdale nature reserve and the North Pennines Area of Outstanding Natural Beauty. My contribution to the history of Bruthwaite Forest includes the location and photography of extant and ruined houses and structures including cairns, bridges, boundary stones, wells and other features of significance to inhabitants in the past. I have tentatively identified and located several medieval shielings, documented all the sheepfolds, and re-placed some ‘lost’ place-names, thus bringing back into current memory names and places which were once common knowledge to those who lived here. The photographic and ceramic artworks are integral to the study, responding to the characteristics of this upland area and acting as a stimulus to reflection on the human place within the natural world.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Lambert, J. K. (2011). Experiencing place : mapping connectivity in the North Pennines. (Doctoral Dissertation). University of Newcastle Upon Tyne. Retrieved from http://hdl.handle.net/10443/1149
Chicago Manual of Style (16th Edition):
Lambert, Janet Katharine. “Experiencing place : mapping connectivity in the North Pennines.” 2011. Doctoral Dissertation, University of Newcastle Upon Tyne. Accessed February 17, 2020.
http://hdl.handle.net/10443/1149.
MLA Handbook (7th Edition):
Lambert, Janet Katharine. “Experiencing place : mapping connectivity in the North Pennines.” 2011. Web. 17 Feb 2020.
Vancouver:
Lambert JK. Experiencing place : mapping connectivity in the North Pennines. [Internet] [Doctoral dissertation]. University of Newcastle Upon Tyne; 2011. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10443/1149.
Council of Science Editors:
Lambert JK. Experiencing place : mapping connectivity in the North Pennines. [Doctoral Dissertation]. University of Newcastle Upon Tyne; 2011. Available from: http://hdl.handle.net/10443/1149
University of Newcastle Upon Tyne
28.
Chapman, Ellen.
Community, heritage, identity : constructing, performing and consuming Welsh identities in the US.
Degree: PhD, 2008, University of Newcastle Upon Tyne
URL: http://hdl.handle.net/10443/529
► This thesis examines relationships between community, heritage and identity in a diasporic context, exploring how national identities are imagined, expressed and sustained outside the nation.…
(more)
▼ This thesis examines relationships between community, heritage and identity in a diasporic context, exploring how national identities are imagined, expressed and sustained outside the nation. It is based on case studies of four Welsh American community heritage sites in the US, which involved detailed surveys with visitors to the sites, interviews with curators and managers, and in-depth analyses of their collections, exhibitions and events. The thesis starts from the assertion that heritage is a cultural and social communicative process (Dicks 2000a, 2000b; Smith 2006). It investigates how and why self-identifying Welsh Americans use community heritage sites to construct, perform and consume a range of personal and collective identities. Narratives of Welsh identities expressed by visitors are analysed using theories of symbolic ethnicity (Gans 1979) and elective belonging (Savage, Bagnall and Longhurst 2005). It is argued that the construction, performance and consumption of Welsh identities in the US are sustained by social groups and networks. The case study sites are further maintained to belong to a transnational heritage network incorporating a variety of community, academic and professional stakeholders from Wales and the global Welsh diasporic community. This challenges the division found in much museological theory between community initiatives in the "official" and "unofficial" heritage sectors. This thesis suggests that community heritage initiatives in both sectors are influenced by a mixture of "bottom-up" community and "top-down" professional interests and agendas. Acknowledging the inter-relationships between these sectors prompts a re-examination of processes of production and consumption. Rather than a linear continuum of performer/audience (Abercrombie and Longhurst 1998) or self/other (Dicks 2003), this thesis argues that processes of production and consumption are more usefully conceptualised as a network. It develops an audience network model as a means through which to create a better understanding of the variety of different ways in which individuals can engage with heritage narratives.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Chapman, E. (2008). Community, heritage, identity : constructing, performing and consuming Welsh identities in the US. (Doctoral Dissertation). University of Newcastle Upon Tyne. Retrieved from http://hdl.handle.net/10443/529
Chicago Manual of Style (16th Edition):
Chapman, Ellen. “Community, heritage, identity : constructing, performing and consuming Welsh identities in the US.” 2008. Doctoral Dissertation, University of Newcastle Upon Tyne. Accessed February 17, 2020.
http://hdl.handle.net/10443/529.
MLA Handbook (7th Edition):
Chapman, Ellen. “Community, heritage, identity : constructing, performing and consuming Welsh identities in the US.” 2008. Web. 17 Feb 2020.
Vancouver:
Chapman E. Community, heritage, identity : constructing, performing and consuming Welsh identities in the US. [Internet] [Doctoral dissertation]. University of Newcastle Upon Tyne; 2008. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/10443/529.
Council of Science Editors:
Chapman E. Community, heritage, identity : constructing, performing and consuming Welsh identities in the US. [Doctoral Dissertation]. University of Newcastle Upon Tyne; 2008. Available from: http://hdl.handle.net/10443/529
University of Leicester
29.
Slater, Robert Ernest Gregory.
Artists' colonies in Staithes and Runswick Bay c.1880-1914.
Degree: 2011, University of Leicester
URL: http://hdl.handle.net/2381/10303
► This is the first scholarly study of the artists' colonies of Staithes and Runswick Bay on the north Yorkshire coast from c.1880 to 1914. Artists…
(more)
▼ This is the first scholarly study of the artists' colonies of Staithes and Runswick Bay on the north Yorkshire coast from c.1880 to 1914. Artists who worked in both locations have attracted attention, but their work until now has not been considered as part of a wider painting community. It has not been recognised that Runswick Bay was a separate colony. Such a topic requires an interdisciplinary approach, drawing on the methods of social and economic history, together with local history studies as well as art history. Following an introduction establishing the motivations, approach and scope of the thesis, each chapter addresses a range of key issues and images. Chapter one examines the social and economic context in which the paintings were produced, with particular emphasis on the fishing industry. Chapter two examines the development of the artists' colonies, together with the relationship between the fisherfolk and the artists. It compares Staithes and Runswick Bay with Newlyn and Cullercoats as centres of cultural production. Chapter three explores the representation of both villages and their inhabitants in the paintings produced. Of particular concern is the depiction of fisherfolk as icons of a simpler life and the embodiment of Englishness. Chapter four discusses the exhibiting practices of the artists, particularly in London and northern England. It also looks at the role of individual patrons. Overall this work demonstrates that Staithes and Runswick Bay were two distinct artists' colonies and that they were of greater significance than has previously been recognised because of the number of artists who worked there and the paintings produced. A broader aim of this thesis is to suggest that the development of artists’ colonies, such as Staithes and Runswick Bay, contributed to definitions of Englishness and that the paintings produced there were expressions of national identity.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Slater, R. E. G. (2011). Artists' colonies in Staithes and Runswick Bay c.1880-1914. (Doctoral Dissertation). University of Leicester. Retrieved from http://hdl.handle.net/2381/10303
Chicago Manual of Style (16th Edition):
Slater, Robert Ernest Gregory. “Artists' colonies in Staithes and Runswick Bay c.1880-1914.” 2011. Doctoral Dissertation, University of Leicester. Accessed February 17, 2020.
http://hdl.handle.net/2381/10303.
MLA Handbook (7th Edition):
Slater, Robert Ernest Gregory. “Artists' colonies in Staithes and Runswick Bay c.1880-1914.” 2011. Web. 17 Feb 2020.
Vancouver:
Slater REG. Artists' colonies in Staithes and Runswick Bay c.1880-1914. [Internet] [Doctoral dissertation]. University of Leicester; 2011. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/2381/10303.
Council of Science Editors:
Slater REG. Artists' colonies in Staithes and Runswick Bay c.1880-1914. [Doctoral Dissertation]. University of Leicester; 2011. Available from: http://hdl.handle.net/2381/10303
University of Leicester
30.
Pridgeon, Eleanor Elizabeth.
Saint Christopher wall paintings in English and Welsh churches, c.1250-c.1500.
Degree: 2010, University of Leicester
URL: http://hdl.handle.net/2381/7964
► This thesis is a comprehensive reassessment of the role of Saint Christopher wall paintings in English (and Welsh) churches. Although the study focuses primarily on…
(more)
▼ This thesis is a comprehensive reassessment of the role of Saint Christopher wall paintings in English (and Welsh) churches. Although the study focuses primarily on parish churches (where the majority of mural paintings survive), it also considers cathedrals, abbeys and other medieval buildings where such imagery is extant or documented. Welsh churches are also examined where appropriate, though there are only a few surviving Saint Christopher images in this geographical area. The investigation spans the period from the emergence of Saint Christopher representations in illumination (c.1250), to the beginning of the sixteenth century, when wall painting depictions of the saint were at their zenith (c.1500 for sake of convenience). The thesis begins with an examination and assessment of universal image function and reception in medieval church and society. This is a central issue to the study of churches, and it is therefore necessary to dedicate a whole chapter to the subject. Through the examination of individual paintings and documents relating to specific churches, the thesis then goes on to focus on three main themes related to Saint Christopher and his cult. First, it considers the role of Saint Christopher wall paintings (and other types of images where appropriate), secondly, the location of Saint Christopher murals within church buildings, and thirdly, the different methods of patronage associated with the wall paintings. The survey also establishes a long-overdue and revised chronology of the entire corpus of Saint Christopher wall paintings based on an examination of architectural, documentary and visual evidence, and on comparisons with other types of media from England and the Continent (such as sculpture, illumination and woodcuts). Most murals can be dated to within the nearest quarter or third of a century (and to the nearest century if the date of execution is uncertain).
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Pridgeon, E. E. (2010). Saint Christopher wall paintings in English and Welsh churches, c.1250-c.1500. (Doctoral Dissertation). University of Leicester. Retrieved from http://hdl.handle.net/2381/7964
Chicago Manual of Style (16th Edition):
Pridgeon, Eleanor Elizabeth. “Saint Christopher wall paintings in English and Welsh churches, c.1250-c.1500.” 2010. Doctoral Dissertation, University of Leicester. Accessed February 17, 2020.
http://hdl.handle.net/2381/7964.
MLA Handbook (7th Edition):
Pridgeon, Eleanor Elizabeth. “Saint Christopher wall paintings in English and Welsh churches, c.1250-c.1500.” 2010. Web. 17 Feb 2020.
Vancouver:
Pridgeon EE. Saint Christopher wall paintings in English and Welsh churches, c.1250-c.1500. [Internet] [Doctoral dissertation]. University of Leicester; 2010. [cited 2020 Feb 17].
Available from: http://hdl.handle.net/2381/7964.
Council of Science Editors:
Pridgeon EE. Saint Christopher wall paintings in English and Welsh churches, c.1250-c.1500. [Doctoral Dissertation]. University of Leicester; 2010. Available from: http://hdl.handle.net/2381/7964
◁ [1] [2] [3] [4] [5] … [14] ▶
. 
Open Access Theses and Dissertations