O objetivo da pesquisa, Romanidade em Plínio, o Antigo, e a Naturalis Historia como um projeto político-pedagógico, consiste em analisar a Naturalis Historia (49-77 d.C.) como um discurso produzido dentro de um contexto sócio-histórico, onde Plínio, o Antigo (23-79 d.C.), reelaborou, baseado na tradição latina e grega, um ideal de romanidade, e ler esta romanidade a partir da problemática das identidades no mundo antigo greco-romano. No século I, num Império cada vez mais multicultural e multiétnico, a Pax proporcionada pela ascensão do governo de Vespasiano (69-79 d.C.), da dinastia dos Flávios, ampliou um processo de romanização do qual Plínio participou como intelectual e funcionário do círculo do poder, apresentando a Naturalis Historia como um thesauros ou memória, romano-itálica e grega, da grandeza de Roma e do Império. Nossa hipótese propõe a leitura integral da Naturalis Historia - enfatizando a análise do prefácio e dos livros 2 e 33 até 37 da História Natural - como um projeto político-pedagógico ou ideológico de Plínio, onde a romanidade pode ser lida como uma noção de identidade em Plínio, que se apresenta como supraétnica ou como modelo ideal de conduta imperial: política, econômica, social, cultural e moral. Através do discurso de Plínio, suas fontes e retórica de escrita e leitura ou de perspectivas de alcance do seu texto, de um ideal de romanitas e humanitas latinas, do contexto histórico de elaboração da obra e das teorias modernas sobre as identidades sociais no mundo antigo, propomos refletir sobre a romanidade como uma ideia de identidade romana, que rehierarquizou e reordenou o mundo imperial, a partir da cidade de Roma, dos costumes, da arte grega e da corte de Vespasiano, o novo Augusto. A Naturalis Historia como Enkyklios Paideia foi portadora de um thesauros, que repropôs a importância dos valores tradicionais romanos, enquanto descreveu a contemporaneidade ou conjuntura histórica do tempo de Plínio, o Antigo, o Principado dos Júlio-claudios ao de Vespasiano, de crises, Pax e integração cada vez maior de povos diversos. / The aim of this research, Romanness in Pliny the Elder and the Natural History as a political-pedagogical project, is to analyze the Natural History (44-77 AD) as a discourse produced in a specific socio-historical context, in which Pliny the Elder (23-79 AD), based on Latin and Greek tradition, introduced a new ideal of Romanness. The research also proposes to read this Romanness vis-à-vis the issue of identity in the ancient Greco-Roman world. In the 1st century, in an increasingly multicultural and multiethnic empire, the Pax provided by the government of Vespasian (69-79 AD), of the Flavian dynasty, expanded a process of romanization in which Pliny participated as intellectual and government official. Pliny presented his Natural History as a thesaurus or memoryItalian-Roman and Greekof the Roman Empires grandeur. Our hypothesis proposes the complete reading of the Natural History (with an emphasis on the analysis of the preface and books 2 and 33 through 37) as Plinys political-pedagogical or ideological project, in which the idea of Romanness can be read as a kind of supra-ethnic identity or as an ideal model of imperial conduct: political, economic, social, cultural, and moral. We propose to look at Romanness as a notion of Roman identity that reordered and recreated hierarchies for the imperial world, starting from the city of Rome, the customs, Greek art, and the court of Vespasian, the new Augustus. For this, we take into consideration Plinys discourse, his sources, reading and writing rhetoric, and the perspectives afforded by his text, by the ideal of Latin romanitas and humanitas, the historical context of his work, and modern theories about social identities in the ancient world. The Natural History as Enkyklios Paideia was the bearer of a thesaurus that reintroduced the importance of traditional Roman values as it described the historical conjuncture of Plinys time, the principality from the Julio-Claudian to the Vespasian dynasties, crises, Pax, and the increasing integration of several peoples.

The thesis follows up processing of art project with topic concert as part of art education at primary school. The overall concept reflected interdisciplinary relations like art education, music and drama. The designed project was realized at one of the primary school in České Budějovice and it is documented in project part of thesis. The theoretical part show relationship between visual art and music in progression of culture. Thesis is developing issue of concert scene in context theatre technology and scenic design. The next part of thesis describe interactions between art education and music in viewpoint curricular documents and it focus on artistic-project methods in art education.

FEJTOVÁ, Klára. Graffiti and street art, their's socioculturals and art's contextes. Prague, 2013. Thesis. Charles University in Prague, Faculty of Education, Department of Fine Arts. Supervisor PhDr. Jan Šmíd, Ph.D., 232 pages.(Appendices: 3 plastic objects) In my diploma paper, I attempted to map the origins and evolution of graffiti and street art. Their possible starting point, sources of inspiration and connection to art throughout history and the present day. I have also mentioned the overlapping into and use in advertising, contemporary art and design. I have briefly dealt with the socio-cultural influence and its connection to this form of art. In the theoretical part of my paper, I devoted my attention to new trends in graffiti and street art. In the didactic part, I used specific ecological trends to create art series. Through this I linked art and environmental education and verified that students in the specific group are interested in incorporating this topic into their curriculum. A part of the is a research survey which shows the opinions and principally confirmed the interest of students in the specific group in this topic.

The present diploma thesis maps the concepts, characteristic features and cultural-social contexts of functions of the "Do It Yourself" phenomenon. It addresses various interpretations of the phenomenon, it creates general features, and it attempts to define its position based on the experience gained from the research carried out and from the literature studied. It primarily captures the action of the phenomenon during the communist and post-communist era in the Czechoslovak and later the Czech Republic, as well as the influence of various socio-political systems on its appearance. Didactic elaboration of the topic focuses on the application of the DIY principles in teaching activity and it presents an "In & Out" artwork line integrating these ideas into the current conditions of teaching art education. The artwork part represents starting points, the process and the realization of the author's binding of the diploma thesis, which is again based on the application of DIY ideas.

The project of Cultural hub for Jaroslavice village is based on the rich history of this small borderline area. It is aiming on improving the current state of the region by connecting it into the cultural net and coordinating creative project within the area. It focuses on attracting foreing artists and connecting them with local community as well as coworking with art schools. It provides workshops and courses for local people and targets children and young people for developing their relationship to culture and creativity, The most attractive part of the project is the „Laboratory of Light“. It is composed from 8 different light situations for artist to train their skills.

Este trabalho é o resultado de uma pesquisa envolvendo estudos, reflexões e experimentações poéticas que buscam problematizar a percepção visual sobre a representação bidimensional e sobre a realidade cotidiana - o conjunto aqui apresentado reúne textos reflexivos, imagens produzidas (desenhos, pinturas e gravuras) e anotações sobre o processo. Num primeiro momento, ele centra na exploração das possibilidades em torno da construção de um efeito flutuante na visualidade imagética, tentando tensionar os modos de apreender a representação bidimensional. Num segundo momento, ele acrescenta a seu quadro de reflexões uma indagação sobre a experiência visual na realidade cotidiana, mais especificamente no deslocamento diário pela cidade de São Paulo, e tenta abordar a paisagem urbana pela perspectiva da representação flutuante. Como um meio de aprofundar certas questões que permeiam o processo poético, são apresentadas três reflexões independentes sobre temas distintos: 1. a espacialidade na tradição pictórica sino-japonesa do Suibokuga; 2. a relação entre cor e linguagem na pintura de Mark Rothko; e 3. possibilidades de se orientar visualmente pela cidade de São Paulo a partir da referência a algumas características básicas compreendidas nas construções espaciais da cultura japonesa. Esses textos tem como objetivo complementar as imagens produzidas, tentando mapear o conjunto de inquietações que impulsionaram o seu desenvolvimento. / The present work is the result of a process involving studies, reflections and poetic experiments which seek to approach the visual perception of the two-dimensional representation and the everyday reality - the contents presented here gather together reflexive texts, produced images (drawings, paintings and engravings) and notes on the process. At first, the process focused on the exploration of possibilities surrounding the construction of a floating effect on visual imagery, attempting to generate discomfort and doubts on the ways of visually apprehending the two-dimensional representation. Secondly, it adds to its set of reflections an inquiry about the visual experience in everyday reality, specially in the daily routine in the city of São Paulo, and attempts to approach the urban landscape from the perspective of the floating representation. As a mean to develop certain issues that permeate the poetic process, three independent reflexive texts about distinctive themes are here presented: 1. one about spatiality in Sino-Japanese pictorial tradition of Suibokuga; 2. one about the relationship between color and language in Mark Rothko\'s paintings; and 3. one about possibilities for one to visually guide himself through the city of São Paulo from the point of view of some basic features inherent to spatial constructions of Japanese culture. These texts have the objective to supplement the images produced along the poetic process, in an attempt of mapping the set of concerns which drove its development.

Buscando referências e novas relações que ampliassem as possibilidades do pensar e do fazer nas artes visuais, Os ensaios da Dona Sombra (?????? ??? Shadôsan no zuihitsu) lança um olhar vagante para as artes e culturas japonesa e ocidental, conferindo especial atenção às obras e práticas de dois artistas, o diretor de cinema Yasujiro Ozu e o paisagista Mirei Shigemori. Quatro textos delineiam quatro dúvidas: o ensaio, o tempo (cinema), o espaço (jardim) e os encontros (meus trabalhos visuais). / Looking through references and relations that contribute to broaden the possibilities of thinking and creating in Visual Arts, The essays of Lady Shadow (????????? Shadôsan no zuihitsu) casts a wandering eye into Japanese and Western arts and cultures, bestowing a special attention on the works and practices of two artists, the film director Yasujiro Ozu and the landscape designer Mirei Shigemori. Four texts outlining four topics: the essay, time (cinema), space (garden) and the poetic encounters (my artworks).

This thesis examines the interaction of Georgian painting and national politics in the first two decades of Soviet power in Georgia, 1921-1939, focussing in particular on the period following the consolidation of Stalin's power at the helm of the Communist Party in 1926-7. In the Stalin era, Georgians enjoyed special status among Soviet nations thanks to Georgia's prestige as the place of Stalin's birth. However, Georgians' advanced sense of their national sovereignty and initial hostility towards Bolshevik control following Georgia's Sovietisation in 1921 also resulted in Georgia's uniquely fraught relationship with Soviet power in Moscow in the decades that followed. In light of these circumstances, this thesis explores how and why the experience and activities of Georgian painters between 1926 and 1939 differed from those of other Soviet artists. One of its central arguments is that the experiences of Georgian artists and critics in this period not only differed significantly from those of artists and critics of other republics, but that the uniqueness of their experience was precipitated by a complex network of factors resulting from the interaction of various political imperatives and practical circumstances, including those relating to Soviet national politics. Chapter one of this thesis introduces the key institutions and individuals involved in producing, evaluating and setting the direction of Georgian painting in the 1920s and early 1930s. Chapters two and three show that artists and critics in Georgia as well as commentators in Moscow in the 1920s and 30s were actively engaged in efforts to interpret the Party's demand for 'national form' in Soviet culture and to suggest what that form might entail as regards Georgian painting. However, contradictions inherent in Soviet nationalities policy, which both demanded the active cultivation of cultural difference between Soviet nationalities and eagerly anticipated a time when national distinctions in all spheres would naturally disappear, made it impossible for an appropriate interpretation of 'national form' to be identified. Chapter three, moreover, demonstrates how frequent shifts in Soviet cultural and nationalities policies presented Moscow institutions with a range of practical challenges which ultimately prevented them from reflecting in their exhibitions and publications the contemporary artistic activity taking place in the republics of the Caucasus and Central Asia. A key finding of chapters four and five concerns the uniquely significant role that Lavrenty Beria, Stalin's ruthless deputy and the head of the Georgian and Transcaucasian Party organisations, played in differentiating Georgian painters' experiences from those of Soviet artists of other nationalities. Beginning in 1934, Beria employed Georgian painters to produce an exhibition of monumental paintings, opening at the Tretyakov Gallery in Moscow in 1937, depicting episodes from his own falsified history of Stalin's role in the revolutionary movement in Transcaucasia. As this thesis shows, the production of the exhibition introduced an unprecedented degree of direct Party supervision over Georgian painting as Beria personally critiqued works by Georgian painters produced on prescribed narrative subjects in a centralised collective studio. As well as representing a major contribution to Stalin's personality cult, the exhibition, which conferred on Georgian painters special responsibility for representing Stalin and his activities, was also a public statement of the special status that the Georgians were now to enjoy, second only to that of the Russians. However, this special status involved both special privileges and special responsibilities. Georgians would enjoy special access to opportunities in Moscow and a special degree of autonomy in local governance, but in return they were required to lead the way in declaring allegiance to the Stalin regime. Chapter six returns to the debate about 'national form' in Georgian painting by examining how the pre-Revolutionary self-taught Georgian painter, Niko Pirosmani, was discussed by cultural commentators in Georgia and Moscow in the 1920s and 30s as a source informing a Soviet or Soviet Georgian canon of painting. It shows that, in addition to presenting views on the suitability of Pirosmani's painting either in terms of its formal or class content, commentators perpetuated and developed a cult of Pirosmani steeped in stereotypes of a Georgian 'national character.' Further, the establishment of this cult during the late 1920s and early 1930s seems to have been a primary reason for the painter's subsequent canonisation in the second half of the 1930s as a 'Great Tradition' of Soviet Georgian culture. It helped to articulate a version of Georgian national identity that was at once familiar and gratifying for Georgians and useful for the Soviet regime. The combined impression of cultural sovereignty embodied in this and other 'Great Traditions' of Soviet Georgian culture and the special status articulated through the 1937 exhibition allowed Georgian nationalism to be aligned, for a time, with support for Stalin and the Soviet regime.

Made available in DSpace on 2016-04-28T20:38:56Z (GMT). No. of bitstreams: 1 Fernando Rocha Beserra.pdf: 2786377 bytes, checksum: 26a28c7027589a0654a534f25d7d07f8 (MD5) Previous issue date: 2014-09-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present dissertation aimed to understand the subjective responses of students, catalyzed by a set of works by visionary artist Alex Grey. Was realized the exposure of some selected works of the artist in a Data Show device to fifteen students, between 18 and 29 years of PUC-SP. After exposure of the works, was asked to research participants to tell a story about the works presented and a semi-structured interview was conducted. The data were organized by the Collective Subject Speech (DSC) and interpreted using the approaches of Jung's complex psychology and aesthetics of reception. It was observed that the works have the potential to profoundly stimulate the unconscious. Subjective responses were marked by intense emotional experiences, whether welfare or malaise, mobilizing projections and psychodynamic contents of the participants. Some themes became salient in the experience of the participants who interacted with the works, such as dualities, death, finitude, the strange, religion and spirituality, the body and the relationship between everyday life and unconventional experiences. The dissertation has enabled an understanding of the subjective responses of students, encouraged by selected works of artist Alex Grey / A presente dissertação teve como objetivo compreender as respostas subjetivas de estudantes, catalisadas por um conjunto de obras do artista visionário Alex Grey. Foi realizada a exposição de algumas obras selecionadas do artista, em aparelho Data Show, a quinze estudantes, entre 18 e 29 anos, da PUC-SP. Após a exposição das obras, foi solicitado aos participantes da pesquisa que contassem uma estória sobre as obras apresentadas e foi realizada uma entrevista semiestruturada. Os dados foram sistematizados por meio do Discurso do Sujeito Coletivo (DSC) e interpretados com a utilização das abordagens da psicologia complexa junguiana e da estética da recepção. Observou-se que as obras têm o potencial de estimular profundamente o inconsciente. As respostas subjetivas foram marcadas por experiências emocionais intensas, seja de bem ou mal-estar, mobilizando projeções e conteúdos psicodinâmicos dos participantes. Alguns temas tornaram-se marcantes na experiência dos participantes que interagiram com as obras, como as dualidades, a morte, a finitude, o estranho, a religião e a espiritualidade, o corpo e a relação entre a vida cotidiana e experiências não convencionais. A dissertação possibilitou uma compreensão das respostas subjetivas de estudantes, estimuladas pelo conjunto escolhido de obras do artista Alex Grey

Este trabalho é o resultado de uma pesquisa envolvendo estudos, reflexões e experimentações poéticas que buscam problematizar a percepção visual sobre a representação bidimensional e sobre a realidade cotidiana - o conjunto aqui apresentado reúne textos reflexivos, imagens produzidas (desenhos, pinturas e gravuras) e anotações sobre o processo. Num primeiro momento, ele centra na exploração das possibilidades em torno da construção de um efeito flutuante na visualidade imagética, tentando tensionar os modos de apreender a representação bidimensional. Num segundo momento, ele acrescenta a seu quadro de reflexões uma indagação sobre a experiência visual na realidade cotidiana, mais especificamente no deslocamento diário pela cidade de São Paulo, e tenta abordar a paisagem urbana pela perspectiva da representação flutuante. Como um meio de aprofundar certas questões que permeiam o processo poético, são apresentadas três reflexões independentes sobre temas distintos: 1. a espacialidade na tradição pictórica sino-japonesa do Suibokuga; 2. a relação entre cor e linguagem na pintura de Mark Rothko; e 3. possibilidades de se orientar visualmente pela cidade de São Paulo a partir da referência a algumas características básicas compreendidas nas construções espaciais da cultura japonesa. Esses textos tem como objetivo complementar as imagens produzidas, tentando mapear o conjunto de inquietações que impulsionaram o seu desenvolvimento. / The present work is the result of a process involving studies, reflections and poetic experiments which seek to approach the visual perception of the two-dimensional representation and the everyday reality - the contents presented here gather together reflexive texts, produced images (drawings, paintings and engravings) and notes on the process. At first, the process focused on the exploration of possibilities surrounding the construction of a floating effect on visual imagery, attempting to generate discomfort and doubts on the ways of visually apprehending the two-dimensional representation. Secondly, it adds to its set of reflections an inquiry about the visual experience in everyday reality, specially in the daily routine in the city of São Paulo, and attempts to approach the urban landscape from the perspective of the floating representation. As a mean to develop certain issues that permeate the poetic process, three independent reflexive texts about distinctive themes are here presented: 1. one about spatiality in Sino-Japanese pictorial tradition of Suibokuga; 2. one about the relationship between color and language in Mark Rothko\'s paintings; and 3. one about possibilities for one to visually guide himself through the city of São Paulo from the point of view of some basic features inherent to spatial constructions of Japanese culture. These texts have the objective to supplement the images produced along the poetic process, in an attempt of mapping the set of concerns which drove its development.