The purpose of this work is study of mediation as a new methodological approach to interaction with audience of art museum. The first chapter is devoted to complex analysis of the spectrum of socio-cultural conditions that led to a change of visitor’s role in the museum communication and an emergence of a new vision of museum’s mission. A general characteristic is given of a new approach that focuses on the audience as a center of museum's activities and thus makes a search of new methods of interaction with the public a problem of current interest. The second chapter explores the concept of "cultural mediation": different connotations of the term are given and inconsistencies in its use are removed; an author’s definition of the concept is offered. In the third chapter key characteristics of mediation as a specific method of interaction with the public are analyzed, and this method is compared to the traditional forms of gallery education (guided tours, lessons). The task of applied research is to develop a curriculum of training of mediators for the 3rd Ural Industrial Biennale of Contemporary Art. The list of professional competences and goals of training for a mediator is formed based on the analysis of the experience of mediators at the Manifesta 10 Biennial and the study of the professional documents of the European associations of mediators. Additionally, the main principle of studying and representing works of art is explained, which is the basis of mediators training. / Целью работы является исследование медиации как нового методологического подхода к взаимодействию с аудиторией художественного музея. Первая глава посвящена обобщению и системному анализу спектра социо-культурных предпосылок, приведших к изменению роли зрителя в музейной коммуникации и возникновению нового представления о миссии музея. Дается общая характеристика нового подход, акцентирующего роль аудитории как центра деятельности музея и делающего актуальной проблему поиска новых методов взаимодействия со зрителем. Во второй главе исследуется понятие «культурной медиации»: разбираются различные коннотации термина и снимаются разночтения в его использовании, предлагается авторское определение понятия. В третьей главе анализируется специфика медиации как метода работы с публикой на музейной экспозиции, выявляются его отличия от традиционных форм образовательной деятельности в художественном музее (экскурсия, музейно-педагогическое занятие). Прикладной задачей работы является разработка учебной программы подготовки медиаторов для 3-ей Уральской индустриальной биеннале современного искусства. На основе анализа опыта медиаторов на Манифесте 10 и изучения профессиональных документов европейских ассоциаций медиаторов выделяются профессиональные компетенции и задачи подготовки медиатора для выставки современного искусства. Раскрывается принцип взаимодействия медиатора с произведениями (содержанием экспозиции) и их репрезентации, ложащийся в основу его профессиональной подготовки.

Made available in DSpace on 2016-04-26T20:29:48Z (GMT). No. of bitstreams: 1 Renato Castro Teixeira Martins.pdf: 1083653 bytes, checksum: e06707211cba98c41bcc338a7c81cda7 (MD5) Previous issue date: 2009-10-22 / The studies on the abuse of the procedures in the law process, found in the doctrine, are about punishment of the part and the indemnification of the injured part, especially in face of the malicious abuse of legal process hypotheses. The current paper aims to show that the technique of the so-called impertinence must be used as a manner to restrain the abuse of the law in the process, avoiding as much as possible injury to the parts and to Justice Administration, emphasizing its restraining role. The first part of the paper concerns the phenomena of the civil process constitutionalization, analyzing the constitutional guarantees that are directly connected to the theme of this study. On the second part, the theories of law abuse are analyzed, as well as their incidence on the material and procedural spheres concerning the law exercises of sueing and defending, including appeals and procedural incidents. The third part is dedicated to the study of many hypotheses of the so-called impertinence that are present in the Brazilian civil process system, analyzing the instructions of the doctrine and the understanding of the jurisprudence. Finally, we defend the use of the technique of the so-called impertinence in cases that are not explicitly seen in the system / Os estudos sobre o abuso do direito no plano processual, encontrados na doutrina, abordam o tema destacando a punição da parte e o ressarcimento do prejudicado, especialmente diante das hipóteses de litigância de má-fé. A presente dissertação tem o objetivo de mostrar que a técnica da manifesta improcedência deve ser utilizada como forma de coibir o abuso do direito no processo, evitando, tanto quanto possível, a ocorrência de danos às partes, ressaltando a sua característica inibitória. A primeira parte do trabalho aborda o fenômeno da constitucionalização do processo civil, analisando as garantias constitucionais que estão diretamente ligadas ao tema deste estudo. Na segunda parte, são examinadas as teorias sobre o abuso do direito, bem como a sua incidência nos planos material e processual, no que diz respeito ao exercício dos direitos de demandar e de defesa, inclusive por meio de recursos e incidentes processuais. A terceira parte é dedicada ao estudo das diversas hipóteses de manifesta improcedência que estão previstas no ordenamento processual civil brasileiro, analisando-se os ensinamentos da doutrina e os entendimentos jurisprudenciais. Ao final, defendemos a utilização da técnica da manifesta improcedência em casos que não estão previstos expressamente no sistema

Continuous Curatorial Conversations is a practice-led exploration of conversation, both as a medium and as a tool for capturing supplementary histories of the curatorial. The primary question of this research project is how the medium of conversation can be explored to write supplementary histories of the curatorial which thus far have been omitted from extant publications on the subject. Three important sub questions guide this exploration. First, what is and has been the role of conversation within the curatorial? What are the possibilities and limitations within the medium of conversation? What roles do conviviality and hospitality play within the process of conversation? This thesis reflects upon a series of curated projects that explore the sp/pl/ace for curatorial conversation and also reviews a collection of one-to-one recorded conversations conducted by the author, including conversations with Alfredo Cramerotti, Hedwig Fijen, Mel Gooding, William Furlong and Sarah Lowndes. Sites of fieldwork include: the 54th Venice Biennale; Manifesta 8, The European Biennial of Contemporary Art; and Glasgow International Festival of Visual Art 2012. Through these projects and related recordings it unpicks the norms and possibilities of what and when one can record on the subject of the curatorial. The hypothesis of this study is that a great deal of curatorial activity is locked up in conversation, yet a disproportion makes it to the pages of the history of the field. Furthermore, in its clean transcribed form it misrepresents the fragility and nuance of the original exchange. The theoretical context of this research looks at Nicolas Bourriaud’s notion of Relational Aesthetics, the writing of Maria Lind and Paul O’Neill, with a focus on Audio Arts. A new methodology relating to curatorial conversation and its recording has therefore been identified as ‘critical conviviality’. The writing relating to Continuous Curatorial Conversations research takes the form of four books. The book ‘An Introduction’ comprises the PhD thesis and sits next to a bespoke online platform www.continuous-curatorial-conversations.org which hosts a selection of audio recordings collated during the research process. The books ‘Continuous’, ‘Curatorial’, and ‘Conversations’ unpack the lineage and context of Alexandra C.M. Ross’s practice and projects conducted during her research and are to be read in no strict order. The new knowledge resulting from this thesis and relating practice is the attention to the subtleties of conversation and its capture as it relates to the instigation, recording and presentation of semi-private matters in semi-public contexts.

I uppsatsen görs en kritisk ideologianalys av det nutida svenska abortmotståndet utifrån ett feministiskt perspektiv. Med hjälp av Carol Lee Bacchis metod ”Vilket är det framställda problemet?” synliggörs hur Kristdemokraterna, Sverigedemokraterna, olika kristna och högerextrema abortmotståndare, samt aktörer i de svenska rättsprocesserna om ”samvetsfrihet” för barnmorskor, framställer problemen med abort. Analysen fortsätter sedan med att belysa vilka kulturellt tillgängliga kommunikationsramar som finns för svenska abortmotståndare, samt synliggör vilka manifesta, respektive latenta ideologier som finns närvarande. I uppsatsen används feministiska teorier om rättigheter samt om nation och reproduktion för att tolka materialet. Resultatet visar att det inom det svenska nutida abortmotståndet finns ett flertal olika framställda problem som kan inrymmas i kommunikationsramar om abort som ett hot mot kvinnor, abort som hot mot människovärdet och de mänskliga rättigheterna, samt abort som ett uttryck för genusideologin och som ett hot mot nationen. I den sista kommunikationsramen finns exempel på latenta ideologier. Det finns inslag av det som brukar benämnas som anti-genusideologi i delar av det svenska abortmotståndet.