English The figure of Christian Schröder has been the pretext to address the attention to several problematic in the History of Modern Art in Bohemia. The issues are modelled on the evolution of the painter's career. Speaking about his beginnings at the service of Count Slavata, the function of Schröder as court painter has been discussed. The discover of archival documents concerning his study trip to Italy opens to the discussion on the artistic training in Italy as a phenomenon common to many painters from Bohemia. After his return in Prague, Schröder faced the choice to submit to the guild of painters or to get the post of Imperial painter which he finally obtained. Shortly after, he passed to the function of keeper of the Prague Castle picture gallery affirming himself as teacher of a group of students, among them Petr Brandl. Schröder's role as teacher is rethought on the light of the artistic situation of the last decade of the 17th century in Prague. The commission entrusted to Schröder by Gundakar Dietrichstein to paint forty-three copies after original paintings once located in the collections of the Prague Castle for the Libochovice estate has proved to be an help to affirm the passage of important original paintings through the picture gallery of Prague Castle and in few cases to...

This dissertation examines the early history of the Berliner Phonogramm-Archiv (Berlin Phonogram Archive) and its role in the institutionalization of comparative musicology. The Berliner Phonogramm-Archiv was established in 1900 by psychologist Carl Stumpf in order to collect and preserve the phonographic recordings of non-European musics that would serve as the primary research materials for the then nascent discipline of comparative musicology. I situate the formation of the Phonogramm-Archiv and the emergence of comparative musicology within the historical contexts of the German cultural sciences and colonialism, and argue that both archive and discipline were informed as much by this immediate intellectual and political background as they were by the arrival of sound recording technologies in Germany. I explore how the other cultural sciences, primarily anthropology and ethnology, served as a model for comparative musicology’s methodological and epistemological framework, as well as for the strategies employed for expanding the Phonogramm-Archiv’s collection. As a cultural science, comparative musicology was governed by the tenet of scientific objectivity, and in sound recording, Stumpf found a means with which it was possible to engage with non-European musics objectively. Yet the scientific method also required the comparison of many different examples in order to determine laws through induction, which necessitated the collection of recordings of as many different musics as possible. In this dissertation, I demonstrate how the Phonogramm-Archiv’s mission to amass recordings and the comparative musicological project these recordings facilitated were both enabled by and dependent on the German colonial apparatus.

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Beyond reviewing Helena Třeštíková's most known movies and an outline of history of documentary film on a global scale and in Czech context1 , thesis deals with a style of time- collecting method in documentary films by Helena Třeštíková, with specifics of her method and requirements of her films. The aim is to comprehensively cover this topic, with the large space provided, due to the sociological potential, to theme in the social sciences still current - the questions of "truth", objective approach and reflections from various authors, theorists and filmmakers. Through the compilation of books and articles by film theorists, reviews and countless articles and interviews in the film and non-film press provides a discussion of the time-collecting document, its roots, traits and contexts, which continues in describing the specifics of Třeštíková's methods and finally, as the already mentioned, most famous works. Based on primary, secondary and tertiary sources, analysis and interpretation of visual and printed material, the thesis is a combination of review (provides a guide to understanding for those who meet the time-collecting topic for the first time) and critical approach (contributes to the existing theoretical discourse). 1 Both of these sections are inserted in the annex in order to not...

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis reevaluates the role that women played in the collection and patronage of natural history, fine arts and antiquities in the long eighteenth century. While most scholarship that addresses early modern collecting and patronage operates within an androcentric framework, this project fills a historiographical gap by focusing its analyses on the experiences, activities, contributions, and achievements of female figures. Primary documentation provides evidence of a highly sophisticated, invested and functional network of enthusiastic and experienced female collectors and patrons who participated in activities that were at once parallel to that of their male peers and yet retained a distinctly feminine character. Influenced by prevailing intellectual movements and aesthetic trends, women throughout the period studied, accumulated, and commissioned items of scientific, artistic, and antiquarian value. Their meaningful engagement with naturalists, explorers, artists, statesmen, and colleagues is at the center of this study which situates female collectors and patrons within a wider socio-cultural context and confirms the broader historical significance of their work. In this way, this thesis may be understood as a restoration of women to their central place in the history of collecting and patronage and as a more complete historicization of the corresponding culture between the years 1715 and 1825.

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[pt] Esta pesquisa surgiu de meu interesse em investigar as relações entre colecionar e projetar em design. Entendendo que todo designer durante a carreira constrói uma coleção de conhecimentos e informações particular. Investigamos quais seriam as influências exercidas pelo ato de colecionar sobre o pensamento dos designers. Pressupomos que os designers que colecionam, desenvolvem relações entre este processo e o seu modo de pensar projetos. Para verificar esta hipótese foi realizada uma revisão bibliográfica, na qual pesquisamos os diferentes aspectos do Design Thinking e do colecionismo descritos na literatura, tais como suas formas, características, metodologias e processos. Posteriormente, foi feita uma pesquisa qualitativa realizada através de entrevistas semiestruturadas com designers colecionadores para avaliar as relações existentes entre seus modos de colecionar e projetar. A partir da revisão bibliográfica e das entrevistas, foram especificadas as relações e características comuns existentes nas práticas exercidas por designers colecionadores. Desta forma validamos a hipótese e definimos as relações existentes entre ambas as práticas, demonstrando como projetos desenvolvidos por designers colecionadores se diferenciam e são influenciados por práticas colecionistas tanto em seus métodos de desenvolvimento como em seus processos criativos. Eles constroem narrativas que refletem seus gostos, desejos e personalidades, sempre se utilizando de duas metodologias paralelas, distintas e sobrepostas: uma pertencente ao seu universo particular e outra comum ao universo dos designers colecionadores. / [en] This research emerged from my interest in investigating the relationship between collecting and projecting in design. Understanding that every designer during his career builds a particular collection of knowledge and information, we investigated what would be the influences exerted by the act of collecting on the designers thinking. We assume that designers who collect develop relationships between this process and their way of thinking about projects. To verify this hypothesis, a literature review was carried out, in which we researched the different aspects of Design Thinking and collecting described in the literature, such as their forms, characteristics, methodologies and processes. Subsequently, qualitative research was carried out through semi-structured interviews with Designers Collectors to assess the existing relationships between their ways of collecting and designing. Based on the bibliographic review and the interviews, the relationships and common characteristics existing in the practices carried out by Designers collectors were specified. By doing this, we validate the hypothesis and define the existing relationships between both practices, demonstrating how projects developed by Designers Collectors differ and are influenced by collecting practices in their development methods and in their creative processes. They build narratives that reflect their tastes, desires and personalities, always using two parallel, distinct and overlapping methodologies: one belonging to their particular universe and the other common to the universe of designers collectors.

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