Anti-hegemonic social movements have historically had a complicated and conflicting relationship with mainstream media, as it consistently undermines the emancipatory potential of these grassroots revolutionary movements, hence serving the interests of the dominant social forces of the hegemonic order. This work develops a comprehensive and critical analysis of the agency of mainstream media throughout the coverage of Occupy Wall Street (OWS) to understand how and why it consciously and relentlessly worked to neutralize the true dimension of the movement and its occupations, and thus to preserve the neoliberal capitalist world order from the ideological threat and the revolutionary challenge that OWS posed to it. Employing a historical materialist approach based on Gramsci's theory of hegemony - and the emphasis in the consensual aspect of power in the production of the hegemony that it entails - and its use in the study of world orders grounded in social relations, this work aims to investigate the mainstream media's active role in the building of the current neoliberal capitalist historic bloc, and its subservience to the hegemonic social forces throughout every stage of the coverage of OWS and its occupations: from the deliberate lack of interest and the total indifference in the movement to the...

Diplomová práce Animace kultury ve výchově a vzdělávání/ The Animation of Culture in Education Vypracovala: Kristýna Cihlářová 2011, KPED FFUK Abstract Nowadays, various cultural institutions realize their strategies of opening cultural services and the arts to the public. These strategies include the conception of educational programmes, particularly animation programmes for schools. The diploma thesis gives a definition of the animation of culture, its position and function in education. It focuses on a concrete type of an educational programme; an animation programme for the 1st and 2nd grade of basic school held in various types of cultural institutions. The thesis analyses the creation and realization of the animation programme from two perspectives; a theoretical and a practical one; by means of interviews with contemporary authors of animation programmes as well as by means of observation of the programmes. The two perspectives represent the confrontation of the ideal and real state of the issue. The conclusion offers practical recommendations in response to the articulated problems during the creation and realization of the programme. The Animation of Culture in Education shall serve as a handbook to those planning the creation or realization of animation programmes for basic schools. Keywords:...

The aim of this diploma thesis is to draw attention to possibilities of presentation of arts in the public space and its benefit for Arts and cultural organisations marketing. The thesis concentrates on the area of Statutory city of Brno and provides both evaluation of benefits of selected implemented events and results of my own marketing research. In the introductory part of the thesis, there are some important theoretical expresions and contexts explained. Furtheremore, there are described possibilities of elimination of barriers of both the access and approach of the public to arts through their presentation in the public space. An important part of the thesis deals with presentation of arts in the space of shopping centre Galerie Vaňkovka Brno and provides particular examples which demonstrate benefits of cooperation of a shopping centre with individual artists or cultural institutions. The most significant point of the thesis is the marketing research conducted among visitors to Galerie Vaňkovka. On the sample of 200 respondents I examined how the visitors to Galerie Vaňkovka perceive presentation of arts in the space of shopping centre. The conclusion which I reached is that presentation of arts in such spaces can support significantly the marketing of arts and cultural institutions.

Esta dissertação de mestrado tem por objetivo apresentar a formação dos educadores surdos que atuam em programas de acessibilidade cultural em três museus da cidade de São Paulo: Pinacoteca do Estado, Museu de Arte Moderna e Museu Afro Brasil. Para isso, apresento seu perfil profissional, como também os programas de acessibilidade e instituições culturais nos quais eles atuam. Exponho as propostas educativas em Libras (Língua Brasileira de Sinais) que são realizadas no atendimento da comunidade surda nesses ambientes culturais, bem como defendo a presença de uma proposta bilíngue e bicultural que seja norteadora na formação e atuação de tais educadores. Nesse sentido, proponho um olhar baseado na visão socioantropológica da surdez, que vê o ser surdo como uma pessoa que possui cultura e identidade cultural própria, devendo, portanto, ser incluído na sociedade por essa diferença linguística. / The purpose of this master\'s thesis is to present the professional training of deaf educators who work in cultural accessibility programs in three museums in São Paulo city: Pinacoteca do Estado de São Paulo, Museu de Arte Moderna and Museu Afro Brasil. For this, I present the educators\' professional profile, as well as the accessibility programs and cultural institutions where they work. In addition, I present the educational proposals in Brazilian Sign Language - \"Libras\" that are performed with deaf community in these cultural institutions, and I also advocate for the use of a bilingual and bicultural proposal to guide the professional training and practice of these educators. In this sense, I propose looking at deafness by a social and anthropological point of view that sees deaf people like someone who has his/her own culture and cultural identity, and that should be included in society by means of this linguistic difference.

Este projeto busca analisar o Cavalete de Cristal, aparato expositivo criado no fim da década de 1950 pela arquiteta ítalo-brasileira Lina Bo Bardi para ser a peça central da composição da expografia do Museu de Arte de São Paulo, o MASP. A pesquisa evidenciará que o design dessa peça - a partir da solução espacial para a qual foi planejada e do discurso curatorial nela embutido - criou uma gramática expográfica singular que, mesmo após sua extinção em 1996, ainda reverbera de maneira potente em discussões internacionais sobre os desafios da apresentação da arte em museus na atualidade. Esta pesquisa reflete a necessidade de se voltar o olhar para a proposta de Lina Bo Bardi, evidenciando a validade de uma retomada do projeto original desse museu como forma de recuperar um espaço de vivência cultural fundamental da cidade de São Paulo - que, como poucos, nasceu de um profundo entendimento das especificidades da cultura brasileira. / This project undertakes an analysis of the Crystal Easel, exhibition apparatus created in the late 1950s by the Italian-Brazilian architect Lina Bo Bardi as the central element in the expographic composition of the Museu de Arte de São Paulo, MASP. Taking the spatial solution for which the apparatus was planned and the curatorial discourse embedded in it as starting point, the study will show that the design of this object created a singular expographic grammar that, even after its extinction in 1996, continues to reverberate forcefully in international discussions about the challenges of displaying art in museums today. This research relects the need to turn our attention to Lina Bo Bardi\'s proposal, evidencing the validity of resuming the museum\'s original proposal as a way to recover a fundamental space for cultural experience in the city of São Paulo - a museum which, like few others, was born of a deep understanding of the particularities of Brazilian culture.

Pour que les projets de modernisation puissent se réaliser, le nouveau Shah avait littéralement besoin de changer profondément la mentalité des Iraniens qui s’était formée pendant des siècles par les principes religieux et la tradition régionale. Sans un changement de mentalité préalable, la création d’une nouvelle identité nationale aurait eu du mal à s’imposer et sans la création de cette nouvelle identité, l’ensemble des principes du nationalisme n’aurait pas pu être assimilé. Ainsi le gouvernement Pahlavi était conscient de l’importance et de la nécessité du nationalisme pour assurer la réussite de ces projets. En effet pour atteindre ses objectifs, la nouvelle dynastie Pahlavi avait besoin d’une base solide et surtout des éléments unificateurs et communs acceptés par toute la population iranienne. Reza Shah a mené deux politiques en parallèles pour mettre en place le nationalisme. Tout d’abord le gouvernement essaya de constituer une base s’appuyant sur des éléments unificateurs tels que l’histoire, le passé glorieux préislamique, le patriotisme et l’indépendance du pays. C’est ainsi qu’avec la mise en place de nouvelles institutions culturelles et éducatives, le gouvernement Pahlavi a tenté de créer une nouvelle identité nationale. En effet le chemin menant à cette nouvelle identité passait par l’archéologie. Et contrairement aux autres pays de la région qui étaient également à la recherche du nationalisme, le rôle de l’archéologie en Iran ne s’est pas limité à effectuer des fouilles archéologiques, mais également à faire naître des idées permettant de mettre en place le nationalisme et une nouvelle identité sociale basés sur un passé millénaire. / In order to implement modern projects, Reza Shah had need literally to change the mentality of Iranians who had trained for centuries by religious principles and the tradition. Without a prior change of mentality, the creation of the new national identity would have been difficult to prevail. And without the creation of this new identity, all the principles of nationalism could not be assimilated. Thus the Pahlavi government was aware of the importance and necessity of nationalism to ensure the success of these projects. Indeed, to achieve its objectives, the Pahlavi dynasty needed a solid and mostly common and unifying elements accepted by the entire Iranian population. Reza Shah has conducted two parallel policies to build nationalism. First the government tried to establish a fundation based on unifying elements such as history, the glorious pre-Islamic past, patriotism and independence. Thus, with the introduction of new cultural and educational institutions, the Pahlavi government has tried to create a new national identity. Indeed the path to this new identity was through archeology. And unlike other countries in the region who were also in search of nationalism, the role of archeology in Iran was not limited to conduct archaeological excavations, but also to develop ideas on how to implement the nationalism and a new social identity based on the millennium history of Iran.

Esta pesquisa parte de um estudo de caso do SESC-São Paulo, em três de suas unidades Pinheiros, Pompéia e Itaquera e busca entender se e como essa instituição atua no sentido de ampliar e diversificar o conjunto de práticas culturais dos seus freqüentadores, alterando, assim, sua relação com o universo da cultura. O trabalho busca iluminar as características e dinâmicas envolvidas no chamado processo de mediação, a partir do qual a instituição cultural aproxima diversos tipos de conteúdos culturais de seus potenciais públicos. Para tanto, parte-se de uma visão da prática cultural como uma relação construída mutuamente: se, de um lado, ela é influenciada por características como condição sócio-educacional dos freqüentadores, de outro lado, os valores e diretrizes construídos historicamente no âmbito do SESC-São Paulo e a forma como as unidades mobilizam suas estratégias de mediação também importam. Este trabalho pretende colaborar tanto para o campo dos estudos sociológicos sobre práticas e públicos culturais, cujo desenvolvimento ainda é incipiente no país, quanto para instituições públicas e privadas comprometidas com questões como a ampliação do acesso à cultura, a formação de públicos e a educação via cultura. / Analyzing three unities of SESC-São Paulo (Pinheiros, Pompéia and Itaquera) as a case-study, this study aims to understand whether and how this institution enlarges and diversifies the set of cultural practices of its users. The goal is to outline the characteristics and dynamics involving the so-called mediation process, through which the institution approaches a diversity of cultural products and its potential audiences. The author, therefore, relies on a concept of cultural practice as a mutually-constructed relation: on the one hand, it is influenced by the social and educational conditions of the individual and, on the other hand, by values and policies held by the institution (in this case, SESC-São Paulo). This research intends to collaborate both with sociological field of cultural practices and audiences and with the improvement of public or private organizations engagement in promoting access to culture, formation of audiences and education through cultural activities.

The objective of this thesis is to describe and analyse customs of science teaching in secondary schools and teacher education programmes in Sweden in relation to the notion of “inquiry” in science education. The main focus is on customs of language use and the educational goal of learning about scientific inquiry as distinct from the related goals of learning to do inquiry and learning canonical science content. There is also an exploration and description of different teaching approaches associated with “inquiry”. Previous research has noted that a key issue for reaching the goal of learning about scientific inquiry is the extent to which teachers are able to guide students to explicitly reflect upon this topic. A prerequisite is that teachers give students access to relevant categories of language for explicit reflection on the characteristics of scientific inquiry. Because of the situated nature of language use and learning, this also raises the need to address topics of context, culture and customs in science education. This thesis addresses the questions of how existing customs of teaching science are related to the goal of learning about scientific inquiry, how inquiry-related terminology is used in this context, and how relevant distinctions can be made to aid explicit reflection on these issues. Data has been collected in two studies and analysed and presented in four papers. Study 1 is based on interviews with twelve secondary school science teachers, and Study 2 is based on focus group interviews with 32 pre-service teacher students. The results include a description of the existing customs of inquiry-oriented instructional approaches in Swedish secondary schools. They show that these are often not connected with an explicit focus on teaching about the characteristics of scientific inquiry.  Inquiry-related terminology is analysed with a focus on the role and use of the terms “hypothesis” and “experiment”. Based on a theoretical framework of sociocultural and pragmatist views on language and learning, it is shown how the use of these terms, both in secondary schools and teacher education, tend to conflate the two categories methods of teaching and methods of scientific inquiry. Some problematic consequences for reaching the goal of learning about scientific inquiry are discussed, as well as possible origins of the problems and how the results from this thesis can be useful in overcoming these. / At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 3: Submitted. Paper 4: Submitted.

Dès l'indépendance, l'Algérie traça une politique culturelle visant la prise en charge globale de son patrimoine culturel. L'état des lieux montra des conditions de développement culturel déplorables, héritées de l'époque coloniale. Une politique d'institutionnalisation des différents aspects du patrimoine national fut progressivement mise en œuvre, accompagnée d'un dispositif juridique important. Les débuts de l'archéologie algérienne se singularisent par des pratiques empiriques, eu égard aux carences en ressources humaines qualifiées, à l'absence de savoir-faire dans le domaine des métiers du patrimoine. Une attention particulière fut accordée à l'archéologie musulmane eu égard au retard accusé par rapport à l'époque antique. Cependant, des difficultés inhérentes aux approches et stratégies mises en œuvre (mode de gestion centralisée, carence en formation, insuffisance de moyens,...) ont contribué à maintenir le développement du secteur patrimonial à un cap qui n'eut pas l'ampleur souhaitée par les acteurs de la culture. Une étude de cas porte sur deux musées de sites, les musées archéologiques de Cherchel ; l'un est de conception et de création coloniale ; l'autre est de programmation algérienne. Cette étude de cas met en exergue les stratégies, les approches et les pratiques muséologiques algériennes. / After the independence, Algeria developed a cultural policy for the overall management of its cultural heritage. An assessment of the former indicated deplorable cultural development conditions which were inherited from the colonial era. A policy of institutionalization of the different aspects of the national heritage was implemented gradually, accompanied by the implementation of important laws. The beginnings of Algerian archeology were characterized by empirical practices that typically arose from the lack of qualified human resources. A special attention was given to the Islamic archeology with regard to the significant delay that occurred in the ancient times. However, the difficulties inherent to the implementation of training, insufficient resources, etc...) have contributed to maintain the development of the heritage sector, unfortunately no to the desired extent. A case study that focuses on two the museums, the archeological museums of Cherchel ; the first site museum is of colonial design and creation and the second one is of an Algerian design. This case study highlights the strategies, approaches and practices of the Algerian museums.

L'art contemporain se veut transgressif, c'est un art fugitif dont on garde trace dans ses souvenirs, grâce à des photographies et des protocoles conservés dans les archives des institutions et prêts à être «réactivés». Située à la frontière de plusieurs domaines de création et confrontée à une forte dématérialisation, l'œuvre d'art contemporain déroute le juriste. Aujourd'hui, elle ne résulte plus du travail d'un artiste agissant seul dans son atelier, mais d'équipes réunissant les talents de multiples professions qui fragmentent sa réalisation en plusieurs phases. De fait, la scénographie ou le procédé artistique l'emportent souvent sur l'œuvre elle-même. Ce procédé prend le nom de «production» d'art. C'est pourquoi l'art contemporain constitue un objet d'étude complexe en droit, lequel s'attache encore trop à la forme de l'œuvre plutôt qu'à ses modes de création. La production artistique contemporaine est un domaine où les usages et les coutumes naissent au gré de pratiques efficientes, et prennent petit à petit le pas sur le droit. Dès lors, un fossé se creuse entre les professionnels de l 'art contemporain et le droit, ce qui a tendance à induire la co­existence de pratiques divergentes et d'interprétations diverses des coutumes établies, ainsi que le chevauchement de la coutume et de la législation, sans que des directives d'application de l'une ou l'autre ne soient adoptées. La question à laquelle nous tentons donc de répondre dans cette thèse est celle de savoir comment réduire cet écart entre la pratique des professionnels de la création contemporaine et le droit afin d'apporter sécurité juridique à la production artistique, et plus particulièrement au sein de la commande publique. / Contemporary art transgress, it is a fugitive art, which we remember thanks to our memories, to photographs and protocols owned by institutions, ready to be revived. The contemporary work of art is dematerialized and located in-between many fields of creation. That is why legal experts have troubles understanding it. Nowadays, a sole artist does not make the work of art anymore. Although, it is the result of the work of a team, gathering multiples professionals, who divide the creation of the work of art up in many phases. That phenomenon is called « production of art». Thus, contemporary art is a complex subject for the law, which is still focused on the form and materials constituting the work of art, instead of being focused on the ways it is produced. The artistic production is regulated by customs, which tend progressively to take advantage on the law. In fact, this creates divergent practices and interpretations of the rules. Plus, the law and the customs sometimes tend to overlap, and no one knows which one should be applied. The question we try to answer in this thesis is how is it possible to reduce the gap between the professional practices and the law, in pursuing the goal to bring legal security in the artistic production, and most specifically, in the field of public call for artists.