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[pt] A censura à arte fez-se presente nos diversos momentos históricos do Brasil, até ser formalmente extinta pela Constituição de 1988. A proibição de censura prévia, porém, não impediu que obras de arte fossem submetidas ao crivo dos Poderes constituídos, instados a manifestar-se acerca dos limites da liberdade de expressão artística. Em setembro de 2017, ocorreu um “estopim” administrativo, judiciário e midiático com a ocorrência de quatro casos de censura em apenas um mês, que tomaram notoriedade em todo o país, especialmente a exposição Queermuseu e a performance La Bête. Esses casos são considerados como o marco inicial do período estudado neste trabalho. A partir desses quatro episódios, a tônica do debate público e da atuação dos Poderes constituídos mudou de foco, representando indício de uma possível mudança estrutural do comportamento das instituições e do público no que toca à liberdade de expressão artística e à censura no Brasil. Com intuito de analisar essa mudança, foram feitos estudos de caso de doze obras de arte que sofreram ao menos um ato de censura entre setembro de 2017 e março de 2020, quando ocorreu o fechamento dos espaços culturais devido à pandemia de COVID-19. O trabalho abordará as peculiaridades da censura no período estudado, que tem por característica negar a si mesma. Também serão abordadas as ferramentas jurídicas e administrativas disponíveis aos artistas e ao público para impugnar os atos censórios emanados dos Poderes constituídos. / [en] Artistic censorship has been constant in brazilian history, until its formal extincion after 1988 Constitution. Although previous censorship is prohibited, works of art have been submited to the constitutional Powers, since then, in order to determine the limits of artistic freedom of expression. In september 2017, four episodes of censorship occurred in the same month and became notorious all over Brazil, specially the Queermuseu exhibition and the performance La Bête. This cases are the starting point to this research. This four episodes unleashed a conservative turning point in the behaviour of the institutions and the public debate concerning freedom of speech. In order to analyze this change, case studies will be carried out, comparing the most notorious episodes of the period. The time frame has been restricted from the cases Queermuseu and La Bête, that took place in september, 2017, until the closure of cultural spaces during the COVID-19 pandemic, in march 2020. This paper approaches the peculiarities of censorship in this time frame, featuring the tendency to deny itself. Also, this research will expose some of the legal and administrative tools available to the artists and the citizens to fight censorship by constituted Powers.

Focusing on Cyrene and Serima art workshops under the tutelage of Paterson and Groeber, respectively, the study acknowledges the foundational importance of Christian art (from the late 1930s up to the 1960s) in the rise of prominent first generation artists in Zimbabwe such as Mukomberanwa, Ndandarika, Khumalo, Songo, Sambo and many others. It rejects perceptions of African modernism as inauthentic imitations of artistic innovations that originated with European art. While accepting that there was a deliberate fusion of traditional art into mission mainstream education to produce Christian art forms with a strong Africanised identity, the study reveals missionaries’ conservatism and restrictions on artistic freedom. It, therefore, locates the formation of modern art in Zimbabwe largely within a broader spectrum of Africans’ encounter with colonialism or western culture which induced artists to invent new artistic expressions reflecting their own emergent political and socio-economic circumstances. The novelty and outright rejection of missionary impact are, therefore, alien to the natural synthesis that informed artistic modernism in Zimbabwe. / Art History, Visual Arts and Musicology / M.A. (Art History)

In comparison with the art production at Nurnberg or at the cities of the so-called Danube School at the end of 15th century stands the simultaneous painting at Munich in the background. Therefore is sometimes forgotten, that there, in this period, a painter Jan Polack with his workshop was active. To his important customers/patrons belonged the dukes Sigmund and Albrecht of Wittelsbach and the Bavarian monasteries (Weihenstephan near Feising), for which he made few altars or portraits. A most of these altars were after that removed from the original sacral areas and today they are presented in the Bavarian National-museum at Munich or in other galleries. Only a few altars, for example three altars for the chapel in Blutenburg near Munich, have been staying on the original place in this small chapel. These Master thesis would like to compare his most representative pictures in the context with the others paintings, which were created in the middle or at the end of the 15th century in Bavaria (circle of Hans Pleydenwurff, Wolfgang Katzheimer etc.). This comparison can help to find the sources of the Polacks artistic expression. A special attention should be devoted his cooperation with Mair of Landshut, because few pictures of Polacks altar from the church of St. Peter in Munich have just been to Mair inscribed. It is also important to point to same compositional connections between the altar-pictures of Jan Polack and the graphics (Master E. S., Martin Schongauer) One highly-valued contribution of this thesis could be a capitol about the possible inspiration of the Polacks artistic expression for the artists, who came from Bohemia and who have been working here for a long times, but who could gain their training in the Bavaria (Munich). At the literature (Jaroslav Pešina) was one opinion expressed, that an altar in a church in Chudenitz concludes the formal features, which reveal a connection to the art at Munich in the middle of the 15th century. However, other authors (Roman Lavička) think that the painted boards of an original altar of Doudleby were inspired by Polacks artistic expression, although any concrete related features were not in the literature mentioned. It is appropriate too, point to the several compositional connections between the pictures of Jan Polack und a so-called Master of an altar from Litoměřice. This anonymous Bohemian painter, who is knowed only according to his most important commission, would be supposed to study in the Bavaria (an artistic circle of Rueland Frueauf at Passau) at the end of the 15th century. It is possible, that he could visit Munich und he could be inspired by the Polacks paintings.

1 Leo Vaniš: Abstrakt dizertace (EN): The dissertation theses "ART EDUCATION - LITERARY EDUCATION: The subjects of" higher "culture in aesthetic education on the example of geometric art" is based primarily on the field of educational sciences, focusing on two areas of the educational process: art and literary education. Two equivalent school subjects matters (which the very graphic concept of the name by capital letters suggests, as well as the intentional duplication of the word education) is based on the study of culture, which is conceived on two levels - "higher" and "lower," possibly simple, unprofessional, but not necessarily of lower quality. The intentional introduction of the word "higher" in quotation marks already in itself suggests that it will be a problem of defining what such a culture means, what it can look like and how it can be understood in an educational context. collection of so-called canonically anchored works, in the field of verbal and artistic creation, while cross-sectionally focusing on one researched aspect - geometry. Whith the concept of dual geometry (often referred to in the theses as the "phenomenon of simple and artistic geometrization") the author tries to show the projection of already established great artistic values into contemporary educational reality, defining...