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No quadro internacional, foi a partir do século XVII que se começou a valorizar a arquitectura medieval, acentuando-se essa mesma valorização durante o século XIX. Só então, no primeiro quartel de Oitocentos, começam a surgir os primeiros estudos que diferenciam as características formais, construtivas e iconográficas do estilo românico face estilo ao gótico. O estabelecimento de metodologias, a definição de cronologias e a caracterização estilística criaram um quadro conceptual e lançaram as bases para o avanço da disciplina no que diz respeito à alteridade do românico relativamente ao gótico. Em Portugal, o estudo sobre românico surge tardiamente quando comparado com a restante realidade europeia. Datando de 1870 a primeira obra consagrada a este estilo artístico, o seu estudo estendeu-se até aos nossos dias, afirmando-se através de sucessivas fases de conhecimento que reflectem abordagens, temas e problemáticas bem datadas. No entanto, as conquistas e evoluções que a historiografia sobre a matéria foi fazendo, materializada num vasto número de trabalhos editados, contribuíram e muito para o conhecimento actual sobre o românico português. A imagem que se foi construindo do românico acompanha a evolução da escrita sobre este momento tão representativo da arquitectura portuguesa, conotado com a formação de Portugal e com o reinado de D. Afonso Henriques (1143-1185). Esta concepção influiu sobre o modo como se restaurou a arquitectura da época românica sensivelmente ao longo da primeira metade do século XX. E isto é tanto mais significativo quanto daqui decorre a imagem actual da arquitectura românica, tal como a conhecemos hoje. Ao longo desta ampla cronologia, destacara-se três autores pela ruptura conceptual que o seu pensamento e a sua escrita sobre românico definiram. Deve-se a Augusto Filipe Simões (1835-1884) a publicação da primeira obra consagrada à arquitectura românica, as Reliquias da architectura romano-byzantina em Portugal e particularmente na cidade de Coimbra, dada ao prelo em 1870. Com Manuel Monteiro (1879-1952) foram lançadas as bases da posterior historiografia sobre a arquitectura da época românica em Portugal, definindo tipologias, classificando dialectos, estabelecendo cronologias e identificando influências. Só mais tarde, com Carlos Alberto Ferreira de Almeida (1934-1996) é que se voltou a sentir uma nova ruptura conceptual na escrita sobre românico, tendo este autor, além de muitos outros aspectos, procurado compreender o românico na sua época e na sua profunda relação antropológica com o território onde se insere. A originalidade do românico português foi sendo reconhecida pela historiografia da especialidade. A sua íntima relação com o território, a importância nuclear que os seus testemunhos arquitectónicos assumiram na organização territorial, aos mais diversos níveis, foi sendo assimilada por aqueles que se consagram ao seu estudo. Acresce ainda a percepção da forte presença de influências estrangeiras, apesar das problemáticas que se lhe associam, adaptadas que foram num contexto muito específico, onde as pré-existências assumem um papel nuclear, acentuam ainda mais o carácter único da arquitectura portuguesa da época românica. / In the international sphere, the appreciation of the medieval architecture commenced in the 17th century and increased throughout the 19th century. Only at that stage, in the first quarter of the 1800s, do the first studies which differentiate the formal, constructive and iconographic characteristics of the Romanesque style compared to the Gothic style begin to appear. The establishment of methodologies, the definition of chronologies and the stylistic characterization created a conceptual framework and launched the grounds for the development of the discipline in what concerns the alter ego of the Romanesque in relation to the Gothic. In Portugal, the study of the Romanesque occurs rather late when compared to the remaining European reality. The first artwork devoted to this artistic style dates from 1870 and its study has been carried out until the present day, being defined through successive phases of knowledge which reflect well dated approaches, themes and problematics. Nevertheless, the historiography conquests and developments made on the subject in the meantime, which materialize in a vast number of published works, largely contributed to the actual knowledge of the Portuguese Romanesque. The image that was construed of the Romanesque escorts the evolution of writings regarding such a representative moment of Portuguese architecture, which is linked to the foundation of Portugal and the kingdom of D. Afonso Henriques (1143-1185). This understanding influenced the manner in which the Romanesque period architecture was restored roughly during the first half of the 20th century. This is even more significant whereas this results in the current image of the Romanesque architecture, as we know it today. Throughout this wide chronology, three authors are distinguished due to the conceptual breakout defined by their thoughts and their writings. The publishing of the first artwork devoted to the Romanesque architecture, the Reliquias da architectura romano-byzantina em Portugal e particularmente na cidade de Coimbra, dated 1870 is owed to Augusto Filipe Simões (1835-1884). With Manuel Monteiro (1879-1952) the grounds of the subsequent historiography on Romanesque period architecture in Portugal were launched, by defining typologies, classifying dialects, establishing chronologies and identifying influences. Only later with Carlos Alberto Ferreira de Almeida (1934-1996) a new conceptual breakout in the writings on Romanesque was felt, due to the fact that this author, amongst many other aspects, tried to understand the Romanesque in its era and its profound anthropologic relationship with the territory where it is located. The originality of the Portuguese Romanesque commenced being recognized by the Romanesque historiography. Its intimate relationship with the territory, the nuclear importance which its architectonic testimonies acquire in the territorial organization, at diversified levels, has been taken on board by those devoted to its study. Additionally, the perception of the strong presence of foreign influences, despite the associated problematics and adapted in a specific context where prior artistic existences acquired a nuclear role, enhance even more the unique character of the Portuguese architecture in the Romanesque period.

Pretende a presente dissertação estudar as transformações sofridas pela Sé do Porto no século XX, resultado da acção da Direcção-Geral dos Edifícios e Monumentos Nacionais (DGEMN). Assim, balizando a nossa pesquisa entre 1929 - ano da criação da DGEMN - e 1982 - ano da criação do Instituto Português do Património Cultural, ao qual passou a estar afecta a Sé -, foi nosso principal objectivo apurar em que medida estas transformações contribuíram para o estado em que se apresenta actualmente a fisionomia da Catedral portuense. Após o estudo dos Processos dos Arquivos da DGEMN - de Obras e Administrativos, Gráficos e Fotográficos -, dedicados a este Monumento em particular, pudemos constatar que na origem das transformações esteve todo um vasto conjunto de intervenções com vista à reabilitação arquitectónica do complexo Catedralício. Deste modo, verificámos, ainda, que estas intervenções apresentaram duas naturezas distintas, decorrentes das teorias e conceitos aplicados nas acções desenvolvidas pela DGEMN, reflexo das mudanças verificadas ao nível do ambiente cultural em torno da consciencialização da salvaguarda do Património Edificado. Assim, e sensivelmente até 1946, seguiu-se uma linha mais próxima da reintegração estilística, concretizada num restauro, deveras transformador da fisionomia do próprio Monumento. Após esta data, optou-se mais por seguir uma acção pautada pelos princípios da conservação, ou seja, da manutenção do Monumento no estado em que este foi encontrado. Para ambos os períodos tivemos sempre em atenção que no modo de tratar a envolvente do Monumento foram seguidos, aproximadamente, estes princípios e conceitos. De um modo inédito a pesquisa que realizámos veio, ainda, a revelar que toda esta atenção especial dada em Portugal aos Monumentos ao longo do século XX, em particular, teve a sua origem em todo um ambiente cultural e teórico que se foi paulatinamente desenvolvendo na cidade do Porto, a partir da acção de sensibilização protagonizada por Joaquim de Vasconcelos e por Marques Abreu e que depois se estendeu a um grupo maior, ainda restrito, o Núcleo do Porto, que adoptou como causa o culto dos Monumentos. / This dissertation intends to study the transformations undergone by the See of Oporto in the 20th century, in consequence of the action of the Direcção-Geral dos Edifícios e Monumentos Nacionais - DGEMN (General-Direction of the National Buildings and Monuments). Thus, limiting our research between 1929 - the year of DGEMN's creation - and 1982 - the year of the creation of the Instituto Português do Património Cultural (Portuguese Institute of Cultural Heritage), to which the See became formally linked -, our main goal was to find out to which extent these transformations contributed to the present state of the Oporto Cathedral's physiognomy. After studying the Files of DGEMN's Archives - of Works and Administrative, Graphic and Photographic -, related to this Monument in particular, we were able to realize that in the origin of the transformations there was a vast number of interventions with a view to architectonic rehabilitation of the Cathedral's complex. In this way, we ascertained further that these interventions were of two different natures, resulting from the theories and concepts applied in the actions developed by DGEMN, a reflex of the changes that occurred at the level of the cultural environment around the consciousness of the safeguard of the Built Heritage. In this way, and till about 1946, a course closer to stylistic reintegration was followed, realized in restoration, really transformer of the Monument's physiognomy. After this date, the main option was to follow an action regulated by the principles of conservation, in other words, of maintaining the state in which the Monument was found. For both periods we kept always in mind that in the way of treating the Monument's surroundings these principles and concepts were approximately followed. In an unprecedented way the research we made also revealed that all this special attention paid in Portugal to the Monuments during the 20th century, in particular, had its origin in a cultural and theoretical environment that developed gradually in the city of Oporto, starting with the awareness action led by Joaquim de Vasconcelos and Marques Abreu and later extended to a larger group, yet still limited, the Nucleus of Oporto, that adopted the cult of the Monuments as a cause.

The Hudson River School was the first cohesive art movement in the United States of America. Using the uncultivated American landscape as their subject matter, members sought to convey a moral or religious message in their work. They believed that the main function of art should be to serve God. Stemming from its roots in theology and literature, this transcendental philosophy posited that one could be closer to God by experiencing his work. If God had created nature, than the vastness and power of nature are direct reflections of His power. While many artists of the Hudson River School used mountainous scenes of the American West in order to allow their viewers to glimpse the divine, one artist, John Frederick Kensett (1816-1872) deviated from the typical Hudson River School subject matter and favored eastern seascapes over the valleys of the west. Kensett's unique perspective led him to use the ocean as a spiritual device in a way that contributed greatly to the diversity of the Hudson River School. His asymmetrical, reduced compositions resulted from his taste for simplicity, and produced a purer, tranquil atmosphere, which allow for greater reflection. Kensett was able to remain true to his tastes rather than producing generic works typical of the Hudson River School, all the while continuing to accomplish the same level of transience as more prominent artists.

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林超純. / "2013年8月". / "2013 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 123-128). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Lin Chaochun.

This dissertation situates the works of Anglo-Swiss artist Henry Fuseli and French artist Anne-Louis Girodet within a vast and heterogeneous epistemological transformation occurring in the late eighteenth and early nineteenth centuries. It examines three distinct but interlocking case studies—physiognomy, electricity, and the guillotine—each of which constellates scientific discourses, representational practices, and popular attractions. Although working in separate contexts and different modalities, Fuseli and Girodet both engaged with these discourses and practices. Yet they did so in ways that also tested and undermined them. They painted bodies that emphatically failed to conform to the scientific discourses they cited; they painted bodies that were similarly unable to represent heroic virtues or legible narratives. In this way Fuseli and Girodet compel us to read the stylistic shift from neoclassicism to romanticism as participating in a significant realignment of the relationship between knowledge, representation, and the body. By the first decades of the nineteenth century, the body no longer served as a privileged agent of knowledge production within the scientific discourses and artistic practices under consideration. The physiognomic body was no longer self-identical; the electric body was no longer internally continuous. The guillotine offered, in their places, bodies without heads and heads without bodies, whose mechanisms of sensation and cognition were only ever partially and provisionally aligned.

This thesis is an examination of policy-making and practice in design education in England from 1837-1992. It takes a longue durée approach to the history of the development of design education to provide a new narrative which shows a pattern of recurring debates concerning the purpose of design education and how it should be taught. Using the curricula of furniture design courses at three art schools to illustrate the way policy was put into practice, this thesis argues that historical context is key to understanding why debates regarding the way designers should be trained for industry have recurred since 1837. Based on a wide variety of primary source material the thesis contributes to historiography by extending the scope of previous histories of art and design education, and also, for the first time, focuses solely on the development of design education, whilst acknowledging its place in the wider development of art and design education. Following the introduction, chapter two of this thesis examines the events which led to the 1835-6 Select Committee and argues that many of the issues raised during the Committee influenced the teaching of design education through the remainder of the nineteenth century; this is further demonstrated through chapter three. Charting the development of design education into the twentieth century through chapters four, five and six, this thesis shows that changing historical contexts, such as the development of industrial methods or wider changes in higher education, have also had an impact on design education. In the light of changing historical contexts, policy makers for design education have continually questioned what design students should be taught and how they should be taught, which accounts, in part, for the recurring nature of debates in design education.

The purpose of this study is to explore the South Korean art education system in the context of history, culture and politics. This thesis provides further explanation on how history has impacted the South Korean art education system and affects current curriculum, theories and practices. Four highly qualified educators and professors from South Korea were interviewed to collect date relating to current practices in South Korean art education. The study focuses on Korean history, which affected the education policies, social perspective, art education theories and curriculum. This study also highlights the relationship of western art education theories and the traditional Korean theories. Understanding culture through history and policies can provide in-depth perspective on why and how South Korean art education has evolved to what it is today. This information may assist art teachers as they modify lessons to fit the needs of students who are immigrating from South Korea.

This thesis will examine the political and social significance of the new artistic language that emerged in Poland in the 1980s. The new artistic language pertains to symbols, imagery and themes that originated in the discourse of the opposition and can be defined as the amalgam of the traditional religious vocabulary and time-specific symbols of oppression under Communism. The most prominent in this category are the symbols of the cross, the flowers, the national red and white flag, exclusively contemporary symbols such as the "television-people" as well as an array of traditional religious vocabulary. This unusual relationship between symbolic language of art and the symbols of the Church and the Solidarity accounted for the inherently political nature of dissident art. This thesis will discuss dissident art in context of the contemporary discourses: the discourse of the Communist Party, the Church, John Paul II and Solidarity.