Den generella uppfattningen av skvaller agerar flitigt som synonym till negativt laddade sociala prestationer och förhållanden. Förtal, rykten och skandaler för att nämna några exempel. Antropologer under 1900-talet delade inte den bestämda uppfattningen av skvaller och föreslog att nyttan som skvaller bidrog till hade både negativa men också väldigt positiva konsekvenser inom olika sociala sammanhang. I studien prövas skvallers samband med konst. Uppsatsen ställer frågan hur och varför skvaller skulle kunna vara ett intressant och berikande sätt att engagera sig med konst, samt om den brittiska problemmåleriet kan tolkas som en representation av visuellt skvaller. Diskussionerna om tre av John Colliers mer berömda konstverk som ställdes ut på Royal Academys konstutställning analyseras genom samtida svensk och engelsk press. På så vis förklaras inte bara det brittiska problemmåleriets status och innebörd för sin samtid, utan även diskussionerna som de uppmanade. Vidare utforskar även studien koncept som gemenskap och utanförskap för att förklara varför ett verk skvallrar till en social grupp och inte en annan. Avslutligen granskas problemmåleriet som visuellt skvaller för att ta reda på ifall ett icke-verbalt objekt faktiskt kan skvallra.

This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism. / Doctor of Philosophy (PhD)

Castrati were without doubt, an extraordinary phenomenon in the vocal world. Four centuries of history exist from the first evidence of their presence in music, dating from the 1550s, and the death of the last castrato Allessandro Moreschi, in 1922. A tradition almost solely practiced in Italy, the castrati experienced their halcyon days in the seventeenth and eighteenth century. At first, they were recruited and castrated as young boys to sing in the soprano sections of the church choirs. They enjoyed an extensive training in specialized conservatorios and grew to be the most accomplished vocalists the world had known thus far. Inevitably, their art was noticed by opera composers of the time. They flourished and were celebrated in Italy and abroad. Their vocal technique and artistic skills dictated the bel canto style for nearly two hundred years. At the end of the eighteenth century, the growing awareness in moral philosophy, and a series of political shifts in Europe put an end to the overwhelming success of the eunuchs. Yet their influence on opera composition of the time and of the subsequent decades was of immense consequence. An important question should be raised when performing the opera roles written for castrati nowadays. Who will sing the castrato roles? As a logical solution, women or countertenors should adopt these roles into their repertoire. A study of opera roles written for castrati by a baroque master in the genre, Georg Friedrich Handel, sheds some light on the music for these rare birds. The castrato role-study encompasses Handel’s operas written for the First Royal Academy of Music (1720-1728). By disclosing some particular aspects in the music and the drama, it becomes clear what voice type should be singing these roles in present day Handel opera production. / text

Thesis (Ph.D.) -- University of Western Sydney, 2003. / "A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.

Submitted by Onia Arantes Albuquerque (onia.ufg@gmail.com) on 2018-10-18T15:06:53Z No. of bitstreams: 2 Dissertação - José Alves de Oliveira Júnior - 2018.pdf: 1511024 bytes, checksum: a8fdba0bb00152f006e04a8d4e501927 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-10-19T10:49:25Z (GMT) No. of bitstreams: 2 Dissertação - José Alves de Oliveira Júnior - 2018.pdf: 1511024 bytes, checksum: a8fdba0bb00152f006e04a8d4e501927 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-10-19T10:49:25Z (GMT). No. of bitstreams: 2 Dissertação - José Alves de Oliveira Júnior - 2018.pdf: 1511024 bytes, checksum: a8fdba0bb00152f006e04a8d4e501927 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-10-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Thais paper examines the rhetoric and the introduction of documentary criticism in the biographical writing of the Royal Academy of Sciences of Lisbon. This group, created in the reign of Queen Maria I in 1779, instituted in its program the writing of Vidas, Elogios Históricos e Memórias Históricas that served to narrate the life of historical personages of the kingdom and the deceased partners of the institution. In this context, biographical writings were valued for their ability to extol the history of "great men" and their moralizing efficacy. In this research, we conceive the biographies of the Academy as traditional forms of representation of the past, incorporated into the Illustrated regime of writing history in the passage from the eighteenth to the nineteenth century. Having the historiographic text as object, we problematize the writing of history in its conceptual and methodological aspects, emphasizing the textual construction and the forms of validation of the historiographic discourse. Considering this, we elucidate the incorporation of the biographical writings of the Academy to the regime of scholarly historicity, showing how rhetoric and erudition focused on the construction of certain notions of historical evidence. We verified the relation between the biographical writings and the project of Philosophical History elaborated by the members of the association, indicating the coexistence of different notions of history in the biographical writing. In the Academy, history would be conditioned by different traditions and movements, being able to be understood at the same time as gender, science and experience of the time. / O presente trabalho examina a retórica e a introdução da crítica documental na escrita biográfica da Academia Real das Ciências de Lisboa. Essa agremiação, criada no reinado da rainha D. Maria I em 1779, instituiu em seu programa a escrita de Vidas, Elogios Históricos e Memórias Históricas que serviam para narrar a vida de personagens históricos do reino e dos sócios falecidos da instituição. Nesse contexto, os escritos biográficos eram valorizados por sua capacidade de enaltecer a história dos “grandes homens” e pela sua eficácia moralizante. Nessa pesquisa, concebemos as biografias da Academia como formas tradicionais de representação do passado, incorporadas ao regime Ilustrado de escrita da história na passagem do século XVIII para o XIX. Tendo o texto historiográfico como objeto, problematizamos a escrita da história em seus aspectos conceituais e metodológicos, dando ênfase à construção textual e às formas de validação do discurso historiográfico. A partir disso, elucidamos a incorporação dos escritos biográficos da Academia ao regime de historicidade erudito, evidenciando de que modo a retórica e a erudição incidiam na construção de determinadas noções de evidência histórica. Verificamos ao final, a relação entre os escritos biográficos e o projeto de História Filosófica elaborado pelos membros da associação, indicando a coexistência de distintas noções de história na escrita biográfica. Na Academia, a história estaria condicionada por distintas tradições e movimentos, podendo ser entendida ao mesmo tempo como gênero, ciência e experiência do tempo.

Made available in DSpace on 2016-04-26T18:11:17Z (GMT). No. of bitstreams: 1 Leila Ortiz Tavares Costa.pdf: 1520733 bytes, checksum: 74301f0a30926b4f0ee01e5dac4753e1 (MD5) Previous issue date: 2011-11-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The Royal Academy of Dance (RAD) produces multimedia material to disseminate itself all over the world. The Brazil gets a part where RAD is in action. This multimedia material puts together websites www.rad.co.uk, www.radacadabra.org, www.benesh.org, www.geneeballetcompetition.com, www.youngdances.org.uk end www.royalacademyofdance.com.br, CDs, DVDs, the Dance Gazette magazine (three edition in each year), Diary (four edition in each year), the syllabus of RAD (1991) and the books: The Foundation of Classical Ballet Technique (1997), Body Basic (1991) and Music in Dance Studio (1993) and some informative. It is purposing to study that complete multimedia material who the RAD uses to disseminate itself in the Brazil, this research make use of HP methodology hermeneutic of depth (THOMPSON, 2009) to analyse these different medias into the symbolic issues of production and reception from structural context. The aim is to demonstrate powerful potential contamination that RAD organized by your multimedia option giving emphasis in the other kind of media, not explicitly included in the multimedia material: the teacher of RAD. Proposing the teacher of RAD like a bodymedia (KATZ &GREINER, 2001, 2005, 2010) who disseminates the same information like the others medias giving effectiveness exponential for them into dissemination. Understanding the reception like a creative action, here is the reflection about teacher of RAD like a communication mechanism of power that gives potential to stabilize into students bodies asymmetric relation of power. The hypothesis is the teacher of RAD mediates specific knowledge (in the way of English to dance) that legitimizes structural of social class from neo-liberalism. How it despises the relation body-environment without getting the flow exchange of information who body is characterized (KATZ & GREINER), and getting communication model inputprocessing- output the teacher of RAD is like actuator of inputs that produces genuine in the way of English to dance without local construction potential of body (SANTOS, 2006). From this design, the research proposes coexistence between practical movement of both, teacher and student, guide by reflection that the teacher of RAD puts in motion colonial action when doesn t proposing exchange with environment (SANTOS, 2010; CANCLINI, 2007; HALL, 1997) and, in this action that operates the imposition to become yourself potential operator of biopolitcs / A Royal Academy of Dance (RAD) produz um material plurimidiático para difundirse em todo o mundo. O Brasil faz parte do mundo onde a RAD atua. Esse material plurimidiático reúne seis sites ( www.rad.co.uk, www.radacadabra.org, www.benesh.org, www.geneeballetcompetition.com, www.youngdances.org.uk e www.royalacademyofdance.com.br) CDs, DVDs, uma revista com três edições no ano (Dance Gazette), um informativo com quatro edições ao ano (Diary), e livros (Syllabus 1991; The Foundations of Classical Ballet Technique, 1997; Body Basic ,1991; e Music in the Dance Studio, 1993), além de informativos esporádicos. Objetivando estudar esse conjunto diverso de mídias que a RAD emprega para a sua divulgação no Brasil, esta pesquisa aplica a metodologia de HP hermenêutica de profundidade (THOMPSON, 2009) para analisar estas diferentes mídias nos seus aspectos de produção e recepção simbólica, com enfoque de contexto estrutural. Tem como objetivo demonstrar o poderoso potencial de contaminação que a RAD organizou com a sua opção plurimidiática, dando ênfase a um outro tipo de mídia, não incluído explicitamente entre os materiais distribuídos. A pesquisa foca no professor, propondo-o como um corpomídia (KATZ & GREINER, 2001, 2005, 2010) das mesmas informações divulgadas nas outras mídias, mas com uma eficiência exponencial na sua transmissão. Entendendo a recepção como uma ação criativa, aqui se propõe a reflexão sobre o corpo do professor da RAD como um dispositivo de comunicação (FOUCAULT, 2009) que potencializa a estabilização de relações assimétricas de poder no corpo-aluno. A hipótese é a de que o corpo do professor media um saber (o modo inglês de se dançar) que legitima a estrutura de classes do neo-liberalismo. Na medida em que despreza a relação corpoambiente, sem levar em conta o fluxo inestancável de troca que o caracteriza (KATZ & GREINER), e adota o modelo de comunicação do input-processamento-output, o corpoprofessor da RAD se apresenta como o acionador dos inputs que produzirão o legítimo modo inglês de dançar, ignorando a potencialidade corporal localmente construída (SANTOS, 2006). A partir dessa configuração, a pesquisa propõe a necessidade de coexistência entre as práticas de movimentos corporais do professor e dos alunos, norteada pela reflexão de que a ação desse corpo do professor se configura como colonial quando não se propõe a trocar com o ambiente (SANTOS, 2010; CANCLINI, 2007; HALL, 1997) e, nessa ação impositiva, se inscreve como operador potente na biopolítica (AGAMBEN, 2009)

La hiérarchie des genres a longtemps été présentée par les historiens de l’art comme le symbole d’une « doctrine officielle » qui aurait dominé de manière univoque l’Académie Royale de Peinture et de Sculpture. Faute d’avoir fait l’objet d’un travail de définition articulé à l’étude d’archives telles que les statuts, les Procès-verbaux et les comptes rendus des conférences, elle a fini par devenir un lieu commun, si bien que la complexité de ses termes s’est parfois trouvé réduite à l’énoncé de la préface aux Conférences rédigée par Félibien. Elle est ainsi devenue le symbole d’un conflit théorique entre les détracteurs d’une Académie supposée étouffer la créativité des artistes et les tenants d’une réhabilitation face aux exagérations de l’historiographie traditionnelle. La perspective de cette recherche s’inscrit dans les interstices de ces approches différentes : interroger le sens et la fonction institutionnels de la hiérarchie des genres, ainsi que les résistances internes à ce dispositif, permet en effet d’appréhender l’Académie comme le lieu d’une conflictualité née du rapport qu’y entretiennent les notions d’art et de pouvoirs. J’étudie précisément l’incorporation de cette règle dans un programme (au sens où l’entend Foucault) – lequel s’est matérialisé dans la rédaction des statuts de décembre 1663 qui instituent une supériorité de la peinture d’histoire sur les autres genres, ainsi que dans la production d’un discours officiel. Les œuvres picturales de Desportes, Santerre, Chardin viennent par exemple déstabiliser les identités génériques solidifiées dans un règlement et ouvrent une piste de réflexion féconde quant à l’usage de la notion dynamique de généricité. / The hierarchy of genres has long been presented by art historians with an interest in the French Royal Academy of Painting and Sculpture, as the symbol of an « official doctrin » supposedly dominating the institution. Because it was never meticulously defined in conjonction with the study of archives such as statutes and conference reports, it slowly became common knowledge, to the point where the complexity of its terminology was sometimes reduced to nothing more than the foreword to Conférences by Félibien. So it became the subject of a theoretical conflict between on the one hand detractors of the Academy, which they accused of suffocating the creativity of artists, and on the other, people who believed in its rehabilitation against the exaggerations of traditional historiography since the 19th century. The perspective of this research takes root in the cracks of these approaches : because questioning the institutional meaning and function of the hierarchy of genres, as well as the internal resistance to it, allows us to assess the Academy as the host of a conflict born from the connection between the notions of art and power one can find within. My focus is precisely the incorporation of this rule within a program (in Foucault’s sense of the term) – which materialised through the writing of the statutes of 1663, which afford superior status to history painting over other genres, as well as through the production of an official discourse. The work of Desportes, Santerre, Chardin for instance are all responsible for destablising hardened genre identities through regulations, and they suggest a prolific line of thought relating to the use of the dynamic notion of genres.

En prenant comme point d’horizon l’entrée du concept de travail mécanique dans la physique théorique par les ingénieurs-savants du début de 19e siècle (Coriolis et Navier notamment), cette thèse montre la filiation de ce concept vis-à-vis de démarches apparaissant à l’aube du 18e siècle à l’Académie Royale des Sciences de Paris, notamment dans les oeuvres d’Amontons et de Parent. La thèse montre alors comment et pourquoi le concept commence à se développer au premier 18e siècle dans cet environnement, comment il est ensuite repris, enrichi, modifié par Pitot, Bélidor, Desaguliers, D. Bernoulli, et comment au contraire ce concept semble ignoré de savants plus théoriciens tel que D’Alembert. Le rôle de la rupture de la vision statique de la machine semble déterminant. Apparaît alors la forte dépendance de ce concept aux problématiques qu’il permet de résoudre, axées sur la quantification et l’optimisation de l’effet des hommes, des animaux et des machines en situation laborieuse, et leurs comparaisons mutuelles dont l’une des finalités est la recherche du profit économique. L’histoire du concept se donne à voir comme une interface permanente entre mécanique théorique, mécanique pratique, et aspects productifs. On suggère alors que la légitimité du concept tient dans sa pertinence à rendre compte du travail des agents producteurs. Enfin, la thèse s’attache à recréer l’épaisseur du réel derrière les concepts et les problématiques, en montrant ce qu’ils doivent aux stratégies gouvernementales et aux pratiques d’ingénieurs. / Taking the early 19th century concept of mechanical work in theoretical physics (popular among such engineers as Coriolis and Navier) as the point of reference, this essay draws a connection between this concept and similar reasoning occurring at the Royal Academy of Sciences in Paris at the turn of the 18th century, especially evident in the works of Amontons and Parent. The essay then demonstrates how and why this concept begins to develop in this academic environment, and how it is then adopted, enhanced and modified by Pitot Bélidor, Désaguliers, and D. Bernoulli while seemingly ignored by theorists such as D’Alembert. The role of the breakdown of the conceptualisation of machines as static agents seems decisive. What follows is a strong dependence on the concept of mechanical work for its ability to problem solve and in pursuit of economic gain, particularly as pertains to quantification, optimization and the comparative labour productivity of men, animals and machines. The concept’s history suggests a permanent interplay between theoretical mechanics, practical mechanics and productivity, thus indicating that the legitimacy of the concept lies in its ability to represent the work of producing agents. Finally, the essay attempts to recreate in practical terms the reality behind the concepts and problems, showing what they owe to government strategies and what to the practices of engineers.

A dissertação busca demonstrar como o final do século XVIII português foi marcado por tentativas de estabelecimento de programas de reformas pautadas em estratégias reformistas, no sentido de salvar Portugal da difícil situação social, política econômica em que o mesmo se encontrava. Nesse sentido, destaca a administração de D. Rodrigo de Souza Coutinho, ministro da marinha e do ultramar e teórico da Ilustração luso-brasileira, que teve como proposta manter e explorar a América portuguesa, baseado no mercantilismo ilustrado. A dissertação destaca, ainda, o papel da Academia Real das Ciências de Lisboa, reduto da intelectualidade luso-brasileira, cujo auxílio permitiu que fosse colocada em prática uma exploração renovada e útil das riquezas do Brasil, calcada no ideal de reforma das Luzes. / The temporal marks of this dissertation concern the last decades of the eighteenth century in Portugal. Its object is to give evidence of the attempts for establishing reform programs based on reforming strategies, in order to free Portugal from some social, political and economical difficulties. This, the dissertation focuses on Dom Rodrigo de Souza Coutinhos administration as a navy and overseas minister, and also a member of Portuguese-Brazilian Illustration, Which intended to keep and explore Portuguese America in accordance with illustrated mercantilism. Besides, the dissertation points out the function of the Royal Academy of Sciences of Lisbon, the house of Lusitanian and Brazilian intellectuality, which helped to put in practice a kind of renewed and profitable exploration of Brazilian natural sources, based on Illustration reform principles.

A dissertação busca demonstrar como o final do século XVIII português foi marcado por tentativas de estabelecimento de programas de reformas pautadas em estratégias reformistas, no sentido de salvar Portugal da difícil situação social, política econômica em que o mesmo se encontrava. Nesse sentido, destaca a administração de D. Rodrigo de Souza Coutinho, ministro da marinha e do ultramar e teórico da Ilustração luso-brasileira, que teve como proposta manter e explorar a América portuguesa, baseado no mercantilismo ilustrado. A dissertação destaca, ainda, o papel da Academia Real das Ciências de Lisboa, reduto da intelectualidade luso-brasileira, cujo auxílio permitiu que fosse colocada em prática uma exploração renovada e útil das riquezas do Brasil, calcada no ideal de reforma das Luzes. / The temporal marks of this dissertation concern the last decades of the eighteenth century in Portugal. Its object is to give evidence of the attempts for establishing reform programs based on reforming strategies, in order to free Portugal from some social, political and economical difficulties. This, the dissertation focuses on Dom Rodrigo de Souza Coutinhos administration as a navy and overseas minister, and also a member of Portuguese-Brazilian Illustration, Which intended to keep and explore Portuguese America in accordance with illustrated mercantilism. Besides, the dissertation points out the function of the Royal Academy of Sciences of Lisbon, the house of Lusitanian and Brazilian intellectuality, which helped to put in practice a kind of renewed and profitable exploration of Brazilian natural sources, based on Illustration reform principles.