A presente dissertação analisa a reflexão de Hegel sobre o conceito de ideal nos seus Cursos de Estética em uma comparação entre a posição ou a situação da arte na época antiga e na época moderna, e que medida o ideal corresponde a cada uma. A fim de acompanhar o modo como se posicionam estas configurações - e a maneira como estas abrigam o conceito de ideal esquadrinhamos o papel mesmo da arte em um plano mais amplo no sistema de Hegel. Em seguida, imersos neste domínio, as considerações associadas a estas esferas exploram, de um lado a figura de arte clássica, sobretudo o modo pelo qual a Grécia é tratada e exemplificada. As caracterizações detalhadas extraídas das esculturas gregas e a efetiva experiência social bela deste povo são o modelo que Hegel apresenta como o alcance pleno do ideal efetivo. Nesta perspectiva, articula-se o pensamento hegeliano com a influência fundamental que Winckelmann exerce nas observações feitas sobre esta temática. De outra parte, a arte romântica compreende as circunstâncias tanto do domínio da subjetividade e interioridade como as relações sociais burguesas carregadas de traços prosaicos e mundanos, que permite ao conceito hegeliano de ideal uma existência difícil. Neste outro estágio, a partir do avanço do espírito, é traçado o declínio da arte diante da multiplicidade das relações que perfazem o mundo, bem como são feitas as considerações sobre esta perda do ideal / The present dissertation analyzes the reflection of Hegel\'s concept of ideal in his Lectures on Aesthetics in a comparison between the position or situation of art in ancient and modern times, and in what measure the ideal corresponds to each one. In order to monitor how these settings are positioned and the way that these deal with the ideal concept the role of art in a broader plan in Hegels system is explained. When immersed in this field, the associated considerations explore from one site the figure of classical art, especially the way in which Greece is treated and exemplified. Detailed characterizations drawn from Greek sculptures and beautiful effective social experiences from this people are the model that Hegel presents as the full range of effective ideal. In this perspective, the Hegelian thought is articulated with the fundamental influence that Winckelmann has on observations made on this subject. On the other hand, romantic art understands the circumstances of both the domain of subjectivity and interiority as the bourgeois social relations, charged with prosaic and mundane features, which allows the Hegelian concept of ideal a difficult existence. In this another stage, from the development of the spirit, the decline of art is traced before the relationships that make up the world, the same way that considerations are made about the loss of ideal

This thesis offers an interpretation of the myth of Theseus and the Minotaur that accounts for its popularity in fifth century Athens. The myth of the Minotaur had particular political resonance in Classical Athens because of the Minotaur’s hybrid character and eastern connotations. In the wake of the Persian wars, Theseus came to embody Athenian democratic and anti-Barbarian ideals. His canonical opponent, the Minotaur, represented the enemy of the Athenian citizen: an eastern hybrid such as the Persian/Carian/Lycian groups of Anatolia and the east. By aligning the Minotaur with his Near Eastern origins, the story of Theseus sailing to confront the Minotaur can be viewed as the story of Greeks, specifically Athenians, facing what was for them, very real threats from the east. By integrating iconographical and mythological evidence for the myths of Theseus and placing the Minotaur myth within the wider historical and political context of fifth century Athens, this thesis shows that the hybrid Minotaur was a stand in for the Persians. / Graduate

A presente dissertação analisa a reflexão de Hegel sobre o conceito de ideal nos seus Cursos de Estética em uma comparação entre a posição ou a situação da arte na época antiga e na época moderna, e que medida o ideal corresponde a cada uma. A fim de acompanhar o modo como se posicionam estas configurações - e a maneira como estas abrigam o conceito de ideal esquadrinhamos o papel mesmo da arte em um plano mais amplo no sistema de Hegel. Em seguida, imersos neste domínio, as considerações associadas a estas esferas exploram, de um lado a figura de arte clássica, sobretudo o modo pelo qual a Grécia é tratada e exemplificada. As caracterizações detalhadas extraídas das esculturas gregas e a efetiva experiência social bela deste povo são o modelo que Hegel apresenta como o alcance pleno do ideal efetivo. Nesta perspectiva, articula-se o pensamento hegeliano com a influência fundamental que Winckelmann exerce nas observações feitas sobre esta temática. De outra parte, a arte romântica compreende as circunstâncias tanto do domínio da subjetividade e interioridade como as relações sociais burguesas carregadas de traços prosaicos e mundanos, que permite ao conceito hegeliano de ideal uma existência difícil. Neste outro estágio, a partir do avanço do espírito, é traçado o declínio da arte diante da multiplicidade das relações que perfazem o mundo, bem como são feitas as considerações sobre esta perda do ideal / The present dissertation analyzes the reflection of Hegel\'s concept of ideal in his Lectures on Aesthetics in a comparison between the position or situation of art in ancient and modern times, and in what measure the ideal corresponds to each one. In order to monitor how these settings are positioned and the way that these deal with the ideal concept the role of art in a broader plan in Hegels system is explained. When immersed in this field, the associated considerations explore from one site the figure of classical art, especially the way in which Greece is treated and exemplified. Detailed characterizations drawn from Greek sculptures and beautiful effective social experiences from this people are the model that Hegel presents as the full range of effective ideal. In this perspective, the Hegelian thought is articulated with the fundamental influence that Winckelmann has on observations made on this subject. On the other hand, romantic art understands the circumstances of both the domain of subjectivity and interiority as the bourgeois social relations, charged with prosaic and mundane features, which allows the Hegelian concept of ideal a difficult existence. In this another stage, from the development of the spirit, the decline of art is traced before the relationships that make up the world, the same way that considerations are made about the loss of ideal

The aim of this study is to determine and define the Persian Achaemenid style produced in the North-Western satrapies (imperial provinces) of Anatolia (modern Turkey) in the period of the Persian dominion of the area, roughly 550 - 300 BCE. The North-Western Anatolian satrapies are the II. nomos of Herodotus - Sardes, and Hellespontine Phrygia (the III. nomos). The roots of the Achaemenid style emerge from the rich artistic traditions of the cultures in the area of modern Iran influenced by Mesopotamian sources as well as nomadic handicrafts. The expansion of the Empire towards the Aegean resulted in extensive contacts with the creative expression of the Anatolian kingdoms and especially the Greek sphere. A unique style of luxurious ware, designated for customers of the local elite and Persian immigrants, is created. The depiction of the Persian court iconography is modified according to the local art-school customs. The clearest representation of the Achaemenid style is observed in the metalware production. The forms and designs of golden and silver vessels are specific. Despite their wide geographic distribution, the majority of the workshops were supposedly located in the area of modern Turkey. The production of jewelry and gems was most likely concentrated in the same workshops. The creative...

Thesis (doctoral)--Odense University, 1990. / Includes bibliographical references (p. 230-243) and index.

Dernier bastion de la tradition classique, l’Académie de France à Rome connaît, depuis le milieu du XIXᵉ siècle, une forte remise en cause de sa position dominante dans le système des Beaux-Arts français. Le renversement de la hiérarchie des valeurs esthétiques, l’inflation du nombre de créateurs et le changement de leur statut modifient profondément le paysage de l’art et semblent placer à l’arrière-garde du XXᵉ siècle l’institution et ses créateurs. L’État, autorité de tutelle, adopte une position ambivalente dans ses rapports à l’Académie de France : s’il ne l’insère ni dans ses projets de politique culturelle sur le territoire national ni dans sa politique de rayonnement culturel en Italie, il continue à soutenir les Grands Prix par le biais de commandes et d’achats publics. La précipitation de ce système va intervenir dans les années 1960 avec, en premier lieu, la nomination de Balthus à la tête de l’institution par Malraux et les réformes des concours de Rome. Cependant, ce sont les événements du printemps 1968 qui vont marquer un coup d’arrêt à cette organisation en légitimant la suppression des Grands Prix et en dépossédant l’Académie des Beaux-Arts de ses prérogatives, initiant ainsi une refonte complète et durable de l’institution. / Last bastion of the classical tradition, the French Academy in Rome has known, since the 19th century, a strong calling into question of its dominant position in the system of the French Fine Arts. The reversal of the hierarchy of values in art, the increase of the number of creators and the change in their status deeply affected the Art scene and seemed to leave the institution and its creators as the rearguard of the 20th century. The State, supervisory authority, adopted an ambivalent position in its relationship with the French Academy. Although it did not include it neither in its cultural policy projects on the national territory nor in its cultural influence policy in Italy, it still went on supporting the Grands Prix by means of orders and public purchase. The haste of this system will take place in the sixties with, at first, the appointment of Balthus at the head of the institution by Malraux and the reforms of the contests of Rome. However, the events of the Spring of 1968 will put an end to this organization in legitimizing the suppression of the Grands Prix and in dispossessing the Academy of Fine Arts from its prerogatives, initiating a complete and lasting recoinage of this institution.

Esta tese investiga a Ideia e o modo como ela se realiza na obra de arte segundo a Estética de Hegel. No primeiro capítulo, o conceito de Ideia é apresentado nas três formas em que o mesmo se realiza segundo a Lógica enquanto Ciência do Conceito em Hegel. No segundo capítulo, procura-se estabelecer alguns pressupostos históricos da analogia entre belo e organismo e como esta mesma analogia pode ser reencontrada na Estética de Hegel. No terceiro capítulo, mostra-se como a ação também pode ser outra forma de interpretação e elemento estruturador da Ideia realizada na obra de arte. No quarto capítulo, apresenta-se o silogismo (e o juízo) como possível forma de explicação das diversas formas de arte. No quinto capítulo, as duas formas de realização da Ideia, enquanto vida e ação, são apresentadas como duas formas diferentes de expressão da Ideia realizadas respectivamente nas obras de arte das formas particulares de arte clássica e romântica. / This thesis investigates the idea and the way it is realized in the work of art according to Hegel\'s Aesthetics. In the first chapter the concept of idea is presented in three forms as it realizes itself according to the Logic as the Science of Concept in Hegel. In the second chapter, we try to establish some historical presuppositions of the analogy between beauty and organism and how this same analogy can be rediscovered in Hegel\'s Aesthetics. In the third chapter, it is shown how the action could also be another form of interpretation and structuring element of the idea realized in the artwork. The fourth chapter presents the syllogism (and judgment) as a possible form of explanation of the different particular forms of art. In the fifth and concluding chapter, the two forms of realization of the idea, as life or action, are presented as two different forms of expression of the idea realized respectively in the particular forms of art of classical and romantic arts.

Thesis (doctoral)--Odense University, 1990. / Translated from Danish; Danish summary: p. 244-251. Includes bibliographical references (p. 230-243) and index.

Esta tese investiga a Ideia e o modo como ela se realiza na obra de arte segundo a Estética de Hegel. No primeiro capítulo, o conceito de Ideia é apresentado nas três formas em que o mesmo se realiza segundo a Lógica enquanto Ciência do Conceito em Hegel. No segundo capítulo, procura-se estabelecer alguns pressupostos históricos da analogia entre belo e organismo e como esta mesma analogia pode ser reencontrada na Estética de Hegel. No terceiro capítulo, mostra-se como a ação também pode ser outra forma de interpretação e elemento estruturador da Ideia realizada na obra de arte. No quarto capítulo, apresenta-se o silogismo (e o juízo) como possível forma de explicação das diversas formas de arte. No quinto capítulo, as duas formas de realização da Ideia, enquanto vida e ação, são apresentadas como duas formas diferentes de expressão da Ideia realizadas respectivamente nas obras de arte das formas particulares de arte clássica e romântica. / This thesis investigates the idea and the way it is realized in the work of art according to Hegel\'s Aesthetics. In the first chapter the concept of idea is presented in three forms as it realizes itself according to the Logic as the Science of Concept in Hegel. In the second chapter, we try to establish some historical presuppositions of the analogy between beauty and organism and how this same analogy can be rediscovered in Hegel\'s Aesthetics. In the third chapter, it is shown how the action could also be another form of interpretation and structuring element of the idea realized in the artwork. The fourth chapter presents the syllogism (and judgment) as a possible form of explanation of the different particular forms of art. In the fifth and concluding chapter, the two forms of realization of the idea, as life or action, are presented as two different forms of expression of the idea realized respectively in the particular forms of art of classical and romantic arts.

Yes / This special issue gathers together a selection of short articles reflecting on the historical construction of inequality and race in the histories of archaeology. The articles also suggest ways in which the discipline might grapple with the—often obvious, sometimes subtle—consequences of that historical process. Solicited via an open call for papers in the summer of 2020 (one made with the aim of speedy publication), the breadth of the topics discussed in the articles reflect how inequality and race have become more prominent research themes within the histories of archaeology in the previous five-to-ten years. At the same time, the pieces show how research can—and should—be connected to attempts to promote social justice and an end to racial discrimination within archaeological practice, the archaeological profession, and the wider worlds with which the discipline interacts. Published at a time when a pandemic has not only swept the world, but also exposed such inequalities further, the special issue represents a positive intervention in what continues to be a contentious issue. / The EDH project was funded by the UK’s Arts and Humanities Research Council (AHRC), project number AH/S004580/1, and conducted in compliance with UCL’s ethical guidance, project id 14901/001.