The purpose of this study was to examine and evaluate the perceptions of high school art teachers, parents of high school students and high school students themselves relative to the merits of goals of a district program for high school art education and to determine whether the three populations share a common perception of these goals. The reveiew of the literature indicated a lack of substantive art programs in the curriculum from kindergarten through grade 12. The emphasis on art productino goals was cited as a major reason art is given such low status in our nation's schools. Many authors believe that if art is to be valued as fundamental to a child's educational development, the emphasis on art production must be broadened to include art hsitory, critique and aesthetics. Because an official school curriculum is often established to reflect societal values, information on art teachers', parents' and students' perceptions of the merits of the goals of high school art programs is important. Such information can be used to plan a local strategy for generating support for and effecting a change in art curriculum. Twenty-two certified high school art teachers, 200 randomly selected parents and a representative sample of 240 high school students were asked to review a list of 20 goals for a high school art education program and to rate them on a seven point Likert scale. for the three groups included The survey instruments five art activities pertaining to each of the four major goal areas of the discipline-based art curriculum, namely art production, art history, critique and aesthetics. Seventy percent of the participants responded to the questionnaires. The objectives of this study were (1) to determine the variability of perception between and within each group, (2) to find whether the three groups possess common perceptions of the merits of alternative goals, (3) to ascertain whether art teachers with more than five years experience share a common perception with teachers with less than five years experience, (4) to determine whether students who have received secondary level art instruction differ in their perceptions from students who have not received instruction, and (5) to compare the ratings of production oriented goals with the other discipline-based art education goals. Major findings of the study were as follows: (1) The plot fo the mean ratings of the merit of the goals for teachers shows wider variability than either parents or students. (2) Students provided a lower mean rating than either the teacher or parent groups. (3) Lack of data. (4) Students and parents with more exposure to secondary art education tended to rate the goals lower than their counterparts with no art background. (5) In the One-Sample Runs test, the art production goals did not appear more predominant at one end of the list of rankings. Teachers, parents and students rated aesthetics and criticism moderately high. In conclusion, the findings indicate that teachers, parents and students do value critique and aesthetic goals in the high school art education curriculum. Continued in-depth research and study with wider populations will be beneficial if we are to meet the challenge to continue to broaden high school art curriculum goals.

This dissertation analyzes the relationship between élites and urban spaces with the aim of creating a profile of municipal patronage of art and architecture in Italian cities during the late republican period (2nd and 1st centuries BCE). Starting from a discussion of the methods and the terms previously used by scholars (euergetism, munificence, etc.), the research delves into the civic and urban histories of Italian cities to study the interactions between monuments and society. With the aid of a substantial epigraphic dossier – as well as archaeological and literary sources – I discuss the actors, the processes, and the cultural aspects behind the construction of public buildings and monuments in late Hellenistic Italy. At the center of the work stand three case studies (Aquileia, Praeneste, and Pompeii), each offering a peculiar perspective on the topic. Thanks to the close reading of these cases, I offer new readings and conclusions on various problems connected with the social and economic history of Italian communities, the relationship between Rome and the Italian allies, and the development of Italian urbanism in the context of the Roman hegemonic expansion.

The concepts "capital building" and 'Institutionalisation" are analysed and applied to community arts centres as instruments for socio-economic development (SED) in South Africa. Theories of neo-classicism, Marxism, development economics and socio-economic development show that building physical, financial, human, social and cultural capital in a complementary configuration is crucial to sustainable socio-economic development. The concept "capital building for SED" is formulated in this regard. New institutional economics and critical extensions of this theory show that institutions play a key role in capital building for SED, as they entail embeddedness, normativity, e-ntreprcneurship, partnership, structure and complementarity. The arts sector contributes considerably to capital building for SED, in particular arts centres in marginalized communities in the UK, USA and South Africa. Community arts centres built political, cultural and human capital in black townships during the South African democratic struggle (1950-92). In accordance with proposals from the arts sector, the post-1994 South African government developed 42 arts centres. However, the contribution of most old and new centres to socio-economic development appears to be insignificant and few are sustainable. The causes of failure are difficult to explain due to lack of information and theory. Through the application of a theoretical framework to the South African arts sector and three case studies the hypothesis is tested that community arts centres can contribute considerably to capital building for SED if they are appropriately institutionalised, while an appropriate focus on capital building for SED results in stronger institutions. An analysis of arts sector shows that strong institutions achieve high returns on investments in capital building, but that few benefit the poor. The application of an analytical matrix consisting of indicators of the above-mentioned five types of capital and six institutional components, shows significant positive correlations between the levels of inslitutionalisation and capital building for SED in the Community Arts Project, the Katlehong Art Centre and ArtsforAIl. The findings result in recommendations on policy and practice of community arts centre development in South Africa. / Development studies / D. Litt. et Phil. (Development Studies)

Modern humour appears to initiate the deconstruction of modern correspondence thinking. A close examination shows the opposite, namely that modern humour forms part of correspondence thought in a complicated reciprocal relationship of disruption and support. Ironically, humour is particularly suited to explicating the deconstruction of correspondence thinking in poststructuralist language theories by being prone to refute cornerstone principles of modernism such as truth, rationality, reliability and permanence. This dissertation focuses on the exceptional suitability of humour to adapt to the loss of the centre and to demonstrate the shift from the modernist ontological approach to the postmodernist creative metaphorical approach to art. Humour, like metaphor, reinvents meaning rather than discovers it; it remains open-ended instead of offering closure. It becomes a valid creative option and enters a new dynamic into a postmodern culture of play where truth and meaning remain infinitely suspended in an ungrounded state of possibility. / Art History, Visual Arts & Music / M.A. (Visual Arts)

Thesis (PhD (Visual Arts))--University of Stellenbosch, 2006. / In this thesis I deconstruct key concepts, terminologies, and rhetorical conventions employed in white South African writing on modern black art. I trace the genealogy of the dominant discursive practices of the apartheid era to the cultural discourses of the colonial era, which in turn had their origins in the Enlightenment. This genealogical tracing aims to demonstrate that South African art writing of the 20th century partook of a tradition of Western writing that was primarily intent upon producing the Western subject as a rational Enlightenment agent via the debased objectification of the colonial Other. In the process of the deconstruction, I identify the most significant discursive shifts that occurred from the 1930’s, when the first publications emerged, to the 1990’s, when South Africa’s new political dispensation opened up a different cultural landscape.

Thesis (PhD)--Stellenbosch University, 2011. / ENGLISH ABSTRACT: This study examines the discursive role and positioning of arts journalism at Die Burger during a period of radical transformation in South African society. The study is conducted within a critical-cultural paradigm. Arts journalists are considered to be manufacturers of cultural capital, a term devised by Pierre Bourdieu as part of his comprehensive field theory framework. While Bourdieu uses cultural capital in the main to describe the role of education and culture in the maintenance of elite power hierarchies, this study investigates how the nature of cultural capital at Die Burger was affected by power shifts when competing elites jostled for dominance in a post-apartheid dispensation. By drawing on Michel Foucault’s theory of discourse, the focus of research further incorporates the discursive positioning of arts journalists in their coverage of arts and cultural events in the 1990s in relation to shifting configurations of power. The argument is that arts journalism at Die Burger can be situated within networks of power and thus contributed to the structuring of post-apartheid society. In the words of Antonio Gramsci, arts journalists became involved in hegemonic and counter-hegemonic struggles. Flowing from these theoretical departure points, the study identifies critical discourse analysis (CDA) as an appropriate research method for textual analysis and adapts a five-phase model suggested by Teun van Dijk as part of his contextual CDA approach. The analysis thus focuses in turn on the context of discourse, discursive struggles between arts journalists and political journalists, strategies of classification used by arts journalists, emerging themes of discourse in arts journalism, and how the selection and presentation of arts journalism on news and arts pages were influenced by various factors, including the personal background and experiences of arts journalists (The concept of Bourdieu’s “habitus”). To affect triangulation and enhance the textual analysis, the study also employs semi-structured indepth interviews with arts journalists who were prominent at Die Burger in the 1990s. The study found that arts journalists were at the intersection of different and often diverging and contradictory power-points in post-apartheid discourses at the newspaper. On the one hand, some arts journalists embraced a legacy of editorial independence at the arts desk and sometimes created oppositional discourses to the official political view of the newspaper: for instance on the issue of alleged “collective guilt” for Afrikaners and whether Naspers should appear before the Truth and Reconciliation Commission (TRC) to explain its role in supporting the National Party (NP) during apartheid. On the other hand, many arts journalists shared the editor’s apparent aversion to the international cultural boycott supported by the ANC and harboured some of the same skepticism about the so-called Africanisation of society and resultant attacks on Eurocentrism in the arts. This study -- the first on this level to focus on Afrikaans arts journalism since 1994 -- represents a significant contribution to knowledge in the under-researched field of arts journalism in South Africa. Its purpose and process has furthermore developed theoretical and methodological innovations which can enrich the field of journalism studies. / AFRIKAANSE OPSOMMING: Die studie -- vanuit 'n kritiese kulturele paradigma -- ondersoek die diskursiewe posisionering en rol van kunsjoernalistiek by Die Burger gedurende 'n periode van radikale transformasie in die Suid-Afrikaanse samelewing. Kunsjoernaliste word beskryf as vervaardigers van kulturele kapitaal, soos gekonsepsualiseer deur Pierre Bourdieu in sy omvattende raamwerk van veldteorie. Terwyl Bourdieu die term kulturele kapitaal hoofsaaklik gebruik om die rol van opvoeding en kultuur in die behoud van hierargieë van elite-mag te beskryf, ondersoek hierdie studie hoe die aard van kulturele kapitaal by Die Burger beïnvloed is deur magsverskuiwings waarin mededingende post-apartheid elite-groepe mekaar die stryd aangesê het. Deur gebruik te maak van Michel Foucault se teorie van diskoers, val die fokus van navorsing dus op die diskursiewe posisionering van kunsjoernaliste in hul dekking van kuns-en-kultuurgebeure in the 1990’s. Die argument is dat kunsjoernalistiek by Die Burger binne magsnetwerke geplaas kan word en bygedra het tot die strukturering van die post-apartheid samelewing. In Antonio Gramsci se terme het kunsjoernaliste dus betrokke geraak in die stryd om hegemonie te skep en teen te werk. Uitvloeiend uit hierdie teoretiese vertrekpunte word kritiese diskoersanalise (KDA) as navorsingsmetode vir die ontleding van joernalistieke tekste geïdentifiseer. Daarvolgens word 'n model met vyf stappe, voorgestel deur Teun van Dijk as deel van sy KDA-benadering, aangepas vir gebruik. Die analise fokus dus om die beurt op die konteks van diskoers, die diskursiewe stryd tussen kunsjoernaliste en politieke joernaliste, strategieë van klassifikasie wat kunsjoernaliste gebruik het, temas van diskoers wat aan die lig gekom het in kunsjoernalistiek, en hoe die seleksie en aanbieding van kuns-en-kultuur-nuus deur verskillende faktore beïnvloed is, insluitend deur die persoonlike agtergrond en ondervinding van kunsjoernaliste (“habitus” in Bourdieu se teorie). Om triangulasie te bewerkstelling en die teks-analise te ondersteun, is semi-gestruktureerde in-diepte onderhoude met prominente kunsjoernaliste aangelê. Die studie het vasgestel dat kunsjoernaliste in post-apartheid diskoerse in die koerant hulself op 'n kruispunt van verskillende, soms uiteenlopende en selfs opponerende strominge van mag bevind het. Aan die een kant het sommige kunsjoernaliste 'n tradisie van redaksionele onafhanklikheid omarm en soms opposisionele politieke diskoerse in vergelyking met die amptelike beleid van die koerant geskep, byvoorbeeld oor die kwessie van beweerde “kollektiewe skuld” vir Afrikaners en of Naspers voor die Waarheid-en- Versoeniningskommissie (WVK) moes verskyn om sy rol as ondersteuner van die Nasionale Party (NP) gedurende apartheid te verduidelik. Maar aan die ander kant het talle kunsjoernaliste die redakteur se klaarblyklike afkeer gedeel aan die internasionale kultuurboikot wat deur die ANC ondersteun is. Kunsjoernaliste was ook skepties oor die sogenaamde Afrikanisering van die samelewing en gevolglike aanvalle op Eurosentriese kuns. Ten slotte maak hierdie studie -- die eerste op hierdie vlak oor Afrikaanse kunsjoernalistiek sedert 1994 -- 'n belangrike bydrae tot die yl kennisveld van kunsjoernalistiek in Suid-Afrika. In die proses het die studie ook teoretiese en metodologiese innovasies aangebring wat die veld van joernalistiek-studies kan verryk.

A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the Degree of Master of Arts. / This dissertation is a study of the iconology of paraphernalia produced by women, among the Ntwane. It represents the culmination of primary field research into the matelial culture of this group, as well as supplementary research conducted at the Africana Museum in Johannesburg, the South African Museum in Cape Town, the National Museumin B1u~!mfontein and the Duggan-Cronin Museumin Kimberley. My investigative methods consisted of unstructured interviews with both married and unmarried members of the Ntwane community at :Kwarrielaagte. Although the focus of my research was primarily on paraphernaIia produced and worn by women, I also interviewed Ntwane men in order to obtain a variety of interpretations and opinions as to the 'meanings' of the objects and traditions under analysis. In addition to the above mentioned field work and gallery research, I consulted a wide range of literature on critical theories, auch as marxism, structuralism end paststructuralism, 141 order to supplement my methodological approach to the iconology of women's art among the Ntwane. It also referred to literature on a number of traditional South. African groups, such as the Pedi and Ndebele. in order to identify the cross-cultural influ8nces between these groups and the Ntwane. The literature on these closely related However, this definition constitutes a gross oversimplification of the concept, for it doe) not allow for a shift in aesthetic criteria from culture to culture. It establishes the concept 'aesthetic' as an absolute, whereas in actuality, it is a value-laden term, whose problems of definition are exacerbated '.men attempting cross cultural research. It is therefore necessary at the outset of this dissertation to formulate a working definition of 'aesthetics' within the context of the Ntwane. It is suggeuted that the aesthetic componsnts of Ntwane objects include style. technique and medium, but extend beyond their formal qualities into activities such as ritual and custom. The socio-cultural activities performed by the Ntwane may be regarded as intrinsically significant to the formal characteristics of their paraphernalia. It may therefore be argued that their objects are the concrete. tangible manifestations of a set of underlying constructs. expressed in adherence to particular conventions of representation; furthermore, that the reduction of the aesthetic component of Ntwane objects to merely an ase ssment; of their formal criteria, would constitute an impoverishment of their levels of meaning. A formalist approach to the art of Ntwane women also fails to consider issues of change in the form and function of their paraphernalia and the effects of broader social transformations on the material culture of the Ntwane. Chapter One of my dissertation will comprise a brief survey of the literature on the Ntwane. In addition to identifying the existing information, methodological gaps in the literature will be mentioned. It is the partial aim of this dissertation to "fill in" some of the gaps by groups helped to shed light on signitficant aspects of Ntwane material culture, which in turn, provided me with greater insight into the iconology of their paraphernalia. / Andrew Chakane 2018

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-29T11:32:45Z No. of bitstreams: 1 Luis Fernando Silva Sandes.pdf: 772251 bytes, checksum: 71d252e917d56a0f10a9060879893d48 (MD5) / Made available in DSpace on 2018-08-29T11:32:45Z (GMT). No. of bitstreams: 1 Luis Fernando Silva Sandes.pdf: 772251 bytes, checksum: 71d252e917d56a0f10a9060879893d48 (MD5) Previous issue date: 2018-08-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This master’s dissertation examines the action of a group of fifteen artists and poets linked to the concrete art movement in Sao Paulo starting on the 1950s. The research problem refers to the constitution of the concrete art group and to its role on the modernization of the Brazilian artistic field. The research’s general objective is to understand how the affirmation of the concrete art generation in the city of Sao Paulo during the 1950s took place. There are three important theoretical and methodological tools: collective biography’s method and the concepts of generation from Mannheim and field from Bourdieu. These tools, the situation of the artistic field from that time, and the relation of the Brazilian concrete art movement to the constructive movement are discussed in the introduction. In the second chapter, the dissertation limits itself to the period from 1947 to 1959. During such time span, cultural institutions relevant to the appearance of concrete art movement have arisen. The concrete art movement emerged officially in 1952. Active as a group until 1959, it held debates with other artistic streams and took over relevant positions in the artistic field. Focusing this period of twelve years, the collective biography’s method is used. Such method prescribes extracting relevant social information from defined populations. The resulting collective biography shows a variety of topics, artistic or not strongholds, and exhibits, all in common to the fifteen selected people. In the following two chapters, concrete art movement in Sao Paulo is studied in its unfoldings. In the third chapter factors that have collaborated for the recovery of concrete art after its peak during the 1950s are raised. Among those factors are art collections, art galleries, libraries and book anthologies. In the fourth chapter the echoes of concrete art movement in the contemporaneity are investigated. It is studied how concrete art movement is still nowadays present in the artistic field, considering its artistic proposals and beyond. As a conclusion a group portrait is shown, in which commonalities of the studied population are specified and a interpretative viewpoint is done. The examined material is composed of biographies, manifestoes, autobiographical pieces of writing, exhibition catalogues, monographic studies on artists, articles and critiques published in newspapers, interviews to the author, among others / Esta dissertação examina a atuação de um grupo de quinze artistas e poetas ligados ao concretismo paulista a partir dos anos 1950. O problema da pesquisa se refere à constituição do grupo concretista e à sua atuação na modernização do campo artístico brasileiro. O objetivo geral da pesquisa é compreender como se deu a afirmação da geração concretista na cidade de São Paulo desde a década de 1950. São importantes três ferramentas teóricometodológicas: o método da biografia coletiva e os conceitos de geração de Mannheim e de campo de Bourdieu. Essas ferramentas, a situação do campo artístico de então e a relação do concretismo brasileiro com o construtivismo são discutidos na introdução. No segundo capítulo, a dissertação se restringe ao período de 1947 até 1959. Nesse intervalo, surgiram instituições culturais importantes para que o concretismo se desenrolasse. O movimento concreto surgiu oficialmente em 1952. Ativo como grupo até 1959, entrou em debates com outras correntes artísticas e assumiu postos de relevo no meio artístico. Com foco nesse período de doze anos, é utilizado o método da biografia coletiva. Esse método prevê extrair informações sociais relevantes de populações definidas. A biografia coletiva resultante indica uma variedade de tópicos, redutos artísticos ou não e exposições em comum entre os quinze selecionados. Nos dois capítulos seguintes, o concretismo paulista é estudado em seus desdobramentos posteriores. No terceiro capítulo, são levantados fatores que colaboraram para a retomada do concretismo após seu auge na década de 1950. Entre eles, encontram-se exposições, coleções de arte, galerias, bibliotecas e antologias. No quarto capítulo, são investigados os ecos do movimento concreto na contemporaneidade. Ou seja, é pesquisado como o concretismo ainda se encontra presente atualmente no meio artístico, em suas propostas artísticas e além. Como conclusão, é apresentado um retrato de grupo, no qual explicitam-se aspectos em comum da população e realiza-se uma visada interpretativa. O material examinado é composto por biografias, manifestos, escritos autobiográficos, catálogos de exposições, estudos monográficos sobre artistas, matérias e críticas de arte publicadas em jornais, entrevistas ao autor, entre outros

嚴瑞芳. / "2011年8月". / "2011 nian 8 yue". / Thesis (M.F.A.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 31-32). / Abstract in Chinese and English. / Yan Ruifang. / 前言 --- p.1 / 從自律到他律 --- p.4 / 必然的創作過程 --- p.9 / 從公共空間到公共性 --- p.10 / 對話性的平台 --- p.13 / 例子一 ：Francis Alys --- p.16 / 例子二 ： Sophie Calle --- p.18 / 例子三：Gillian Wearing --- p.19 / 說故事作爲理想溝通方法 --- p.21 / 一個收買故事的故事 --- p.24 / 總結 --- p.26 / 附錄一：作品簡述 --- p.28 / 參考書目 --- p.31

Made available in DSpace on 2017-07-21T20:31:34Z (GMT). No. of bitstreams: 1 Luizana Pellizzari.pdf: 391691 bytes, checksum: abbbfa374343c995fae8ce89d8e085f0 (MD5) Previous issue date: 2006-03-08 / This work describes an aesthetic experiment with students in the second year of the Visual Arts course at the State University of Ponta Grossa (PR) in 2004. Its central issue is: Could a certain practice of familiarization and production with contemporary art interfere in students’ conceptions and practices regarding art and the teaching of art? The focus of this proposal was the 26th International Bienal in São Paulo. Some initial inquiries guided the study, due to these students’ school background: how did their contact with art, mainly the contemporary one, develop? Which aesthetic processes have they been through? Could their conceptions and practice change with the teacher’s intervention? The reflections developed during the research time aimed at surveying concepts and practices that remain and the ones that change, as well as the possibility of inserting contemporary art as one of the subjects taught. The formulations of the dialectical materialism were used as theoretical-methodological reference in order to better understand the relations between art and society, art in the capitalist society and the government policies for the teaching of art in Brazil. The action-research was used as a methodological strategy so that an aesthetic experiment could be put into practice and from these possibilities of education and training of Visual Arts teachers could be extracted. / O trabalho relata uma experiência estética envolvendo a turma do 2º ano de Licenciatura em Artes Visuais da Universidade Estadual de Ponta Grossa (PR), no ano de 2004, tendo como questão central: uma prática de familiarização e produção com arte contemporânea poderia interferir nas concepções e práticas desses alunos quanto à arte e ensino de arte? O foco dessa proposta foi a 26ª Bienal Internacional de São Paulo. Algumas indagações iniciais nortearam o trabalho: dados os antecedentes escolares desses alunos: como se processou o contato com a arte e em especial com a contemporânea? Quais os processos estéticos pelos quais passaram? Haveria mudança de concepção e prática tendo em vista uma intervenção docente? As reflexões ocorridas durante a pesquisa objetivaram levantar conceitos e práticas que permanecem e que mudam bem como as possibilidades de inserção da arte contemporânea na atividade docente. Como referencial teórico-metodológico mais amplo foram utilizadas as formulações do materialismo dialético para compreender as relações entre arte e sociedade, arte na sociedade capitalista e as políticas para o ensino de arte no Brasil. A pesquisa-ação foi usada como estratégia metodológica para colocar em prática uma experiência estética e dela deduzir as possibilidades educativas na formação de professores de artes visuais.