When he opened the 24th annual exhibition of students' work on the 1st July, 1927, Professor F.W. Armstrong gave the following account of the beginnings of the Grahamstown School of Art: ... The appointment of a master was the responsibility of Sir Langham Dale, the Superintendent General of Education in the Cape Colony. His choice for the first art master of the Grahamstown School of Art was Mr.W. H. Simpson. Simpson had studied at the South Kensington Museum then at the Royal Academy. During the 1870's he had exhibited in the Royal Academy, at other exhibitions in London, and in the provinces. Intro. p. 1.

The aim of my diploma work was focusing on motivation to art activity and creativity of children of younger school age in the pedagogy of leisure time. The art project {\clq}{\clq}The four seasons`` focuses on aim to clarify the children of younger school age the nature, habits, traditions and further interests of single seasons and to motivate them to their own art activity and arouse enthusiasm and creativity. These aims are in the project achieved by literarily-dramatic, artistic, locomotory, environmental and experimental education. In the conclusion I mention phenomenoms, which arose during the realization of the project ``The four seasons`` and I summarize my findings and knowledge.

This dissertation is based on specific areas of learning and disabilities that are related to gross and fine motor skills and the main focus is on the manifestations of dysgraphia. The aim is to affect the peculiarity of these disorders depending on the drawing and artistic abilities of students which requires Rey-Osterrieth's complex figure and additional tasks that are compared with this figure. Rey-Osterrieth's complex figure is a well-known and used diagnostic tool in the field of learning disabilities and it is used to compare the performance of students. The student's artistic ability, perception of perspectives, spatial composition, and work with lines are very important. The performance of each student is described in detail in this dissertation, both through quantification and through a written description. In the dissertation, there can found a case study and a comparison of students that differ from the average data.

This thesis is focused on assessing applications of educational contents and goals of the subject Art in the school for pupils with special educational needs. Firsly are characterized the Framework educational programme and School educational programme. Consequently is analyzed the content of School educational program at Elementary and Practical school Svítání, o.p.s. Through action research there are compared the contents of the above binding documents with reality of teaching in the school, which deals with the education of pupils with special educational needs. Action research was realized through video record, transcriptions and analysis of recorded lessons, evaluation of used forms and methods in teaching practice, suggestions and subsequent implementations of didactic art education project with pupils of this school. The work with Framework and School educational programme revealed that the School educational programme subjected to analysis is too focused only on art techniques and specific themes, almost disregards Framework educational programme and very limitedly works with curriculum or expected outcomes discussed herein. Teachers have just narrow space for motivation focused on actual topics and art work. Action research has shown that these specific and serious deficiencies of School...

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-11-10T13:57:50Z No. of bitstreams: 1 JAQUELINE LUVISOTTO MARINHO.pdf: 1513192 bytes, checksum: 40a6c0bdf5189ebf7dd0398eacb05f91 (MD5) / Made available in DSpace on 2016-11-10T13:57:50Z (GMT). No. of bitstreams: 1 JAQUELINE LUVISOTTO MARINHO.pdf: 1513192 bytes, checksum: 40a6c0bdf5189ebf7dd0398eacb05f91 (MD5) Previous issue date: 2016-09-14 / This theoretical research projects for the interaction between Health, Education and Art, related to the researcher’s trajectories and experiences in these fields, walking towards deterritorialisation of knowledges, deconstruction of limits between fields of knowledge and their frameworks. It was searched for threads that could be weaved to construct reflections towards possibilities of paths through Health-Education actions in School Health which constituted themselves as dialectical interactions between science, art, health and education. The methodological approach is based on the conceptions of Walter Benjamin, built as a mosaic, in montages of experimentation with their estrangements and enchantments, and the mosaic tesserae built by mixtures of singularities and knowledge flows of the fields in interaction, (auto)narrative and autobiographical elements permeations and from reflections of artistic works. The ideas are entangled in the mosaic as "dialectical images", forming constellations. Dialectical images, according to Walter Benjamin, reveal, build and are built from dialectical movements, between contradictions and approximations, between estrangements and recognition, between tensions and flexions, between movements and suspensions. Reflections about relation of the scientific with the health education actions are presented, considering the control of “scientificizing” relation in the field of School Health, and reflections about Art as a stream to the possibility of deviation by other options of thinking health education. In the elaboration of reflections about the path to possibilities of considering the relation between Health, Education and Art at school, specifically in relation to health education actions, the flows of the ideas of experience, infancy, memory, narrative, art and language were searched, considering the concepts of Walter Benjamin, connecting these ideas with the notions of health-disease processes and health-illness experiences. The research path converges to reflections about the elaboration of narratives by artistic experimentations like moving to the possibility of elaboration of health-illness experiences, conceiving so health education and school health beyond the mere transmission and internalization of standardized behaviour and health care norms. This narrative elaboration is understood in an anachronistic way, from dialectical images, deconstructing and reconstructing the scientific knowledges in the interaction with the artistic. In contrast to health education based on communication of information, using an instrumentally conceived language and art, it was walked to reflections, from Walter Benjamin's understanding, about the possibility of the construction of artistic narratives related to a Health-Education that provides the elaboration of experiences. The narrative forms like a mosaic, occurring montages of tesserae by dialectical movements, by astonishment and charm, between memory, health, art, education, science. Therefore, it was possible to comprehend the health education in the language, constituting the subject by the narrative related to the health-disease processes, connecting the artistic language with the body language, enabling the elaboration of health-illness experiences and creating effulgent knowledges through the revelations of dialectical images. / Esta pesquisa teórica se projeta para a interação entre Saúde, Educação e Arte, que se relaciona às trajetórias e experiências da pesquisadora nestes campos, caminhando no sentido de desterritorialização de saberes, de desconstrução de limites entre campos de conhecimentos e de seus enquadramentos. Buscou-se por fios que pudessem ser trançados objetivando construir reflexões no sentido de possibilidades de caminhos por ações de Saúde-Educação na Saúde Escolar que se constituissem como interações dialéticas, entre ciência, arte, saúde e educação. O percurso metodológico se fundamenta nas concepções de Walter Benjamin, se construindo como um mosaico, em montagens de experimentações com seus estranhamentos e encantamentos, sendo as tesselas do mosaico construídas por mesclas de singularidades e fluxos de conhecimentos dos campos em interação, de permeações de elementos (auto)narrativos autobiográficos e de reflexões a partir de obras artísticas. As ideias se enredam no mosaico como “imagens dialéticas”, formando constelações. As imagens dialéticas, conforme Walter Benjamin, revelam, constroem e são constituídas por movimentos dialéticos, entre contradições e aproximações, entre estranhamentos e reconhecimentos, entre tensões e flexões, entre movimentos e suspensões. São apresentadas reflexões sobre a relação do científico com as ações de educação em saúde, considerando o controle da relação cientificizante no campo da Saúde Escolar, e reflexões sobre a Arte como um fluxo para a possibilidade de desvio por outras opções de se pensar a educação em saúde. No elaborar de reflexões sobre o caminhar para possibilidades de se considerar a relação Saúde, Educação e Arte na escola, especificamente em relação às ações de educação em saúde, buscam-se os afluentes das ideias de experiência, infância, memória, narrativa, arte e linguagem, considerando as concepções de Walter Benjamin, conectando estas ideias com as noções de processos saúde-doença e de experiências de saúde-doença. O percurso de pesquisa conflui para reflexões sobre a elaboração de narrativas por experimentações artísticas como caminhar para a possibilidade de elaboração de experiências de saúde-doença, concebendo-se assim a educação em saúde e a saúde escolar para além da mera transmissão e internalização de normas padronizadas de comportamento e cuidado em saúde. Compreende-se esta elaboração narrativa de modo anacrônico, por imagens dialéticas, desconstruindo-se e reconstruindo-se os saberes científicos na interação com o artístico. Em contraposição à educação em saúde pautada em comunicação de informações, que se utiliza de uma linguagem e de uma arte concebidas de modo instrumental, caminha-se por reflexões, a partir das compreensões de Walter Benjamin, sobre a possibilidade de as construções de narrativas artísticas se relacionarem a uma Saúde-Educação que propicie a elaboração de experiências. A narrativa se configura como um mosaico, ocorrendo as montagens das tesselas por movimentos dialéticos, por espantos e encantos, entre memória, saúde, arte, educação, ciência. Portanto, fez-se possível compreender a educação em saúde na linguagem, constituindo-se o sujeito pelo narrar relacionado aos processos saúde-doença, conectando-se a linguagem artística com a linguagem de seu corpo, possibilitando-se a elaboração de experiências de saúde-doença e a criação de saberes fulgurantes por entre as revelações de imagens dialéticas.

This thesis examines how traditional medicine workshops offered by an Aboriginal health centre contribute to capacity re-building through self-care in two local communities in Manitoulin Island, Ontario. Health disparities that exist between Aboriginal people and the rest of the population have prompted a need to better understand health determinants that are of relevance in these communities including the importance of culture, tradition, and self-determination. A variety of qualitative methods were employed in this work including in-depth interviews, focus groups and “art voice.” The use of art voice on Manitoulin Island advances decolonizing methodologies by emphasizing how the incorporation of locally and culturally relevant methods or “methods-in-place,” is an effective way to engage communities in the research process. Results show the need to approach traditional teachings, health programs, and research from an Aboriginal worldview and indicate that more frequent workshops are required to empower youth and adults to practice and share traditional knowledge. Furthermore, a continuum exists in which the interest in language, culture, and tradition increases with age. Capacity can therefore be re-built over time within communities promoting autonomy and self-determination through self-care. Findings can be expected to further inform the traditional programming in participating communities, enhance existing Aboriginal determinants of health models by including traditional medicine as an element of self-care, and can act as a springboard for the inclusion of unique place-based methods into community-based research projects in the future.

This thesis examines how traditional medicine workshops offered by an Aboriginal health centre contribute to capacity re-building through self-care in two local communities in Manitoulin Island, Ontario. Health disparities that exist between Aboriginal people and the rest of the population have prompted a need to better understand health determinants that are of relevance in these communities including the importance of culture, tradition, and self-determination. A variety of qualitative methods were employed in this work including in-depth interviews, focus groups and “art voice.” The use of art voice on Manitoulin Island advances decolonizing methodologies by emphasizing how the incorporation of locally and culturally relevant methods or “methods-in-place,” is an effective way to engage communities in the research process. Results show the need to approach traditional teachings, health programs, and research from an Aboriginal worldview and indicate that more frequent workshops are required to empower youth and adults to practice and share traditional knowledge. Furthermore, a continuum exists in which the interest in language, culture, and tradition increases with age. Capacity can therefore be re-built over time within communities promoting autonomy and self-determination through self-care. Findings can be expected to further inform the traditional programming in participating communities, enhance existing Aboriginal determinants of health models by including traditional medicine as an element of self-care, and can act as a springboard for the inclusion of unique place-based methods into community-based research projects in the future.

Czech born art historian Max Dvořák is known as one of the leading persons of modern heritage protection in Central-East Europe. He formulated, similarly as his own teacher Alois Riegl, position in manner of science work typical for Vienna School of Art History. Main purpose and contribution of this work lies in a comparison of some parallels of phenomens including reception of his ideas in other states of Central-East Europe: former Czechoslovakia, Poland, and Hungary or Slovenia from the early organized conservation efforts in former Austrian Empire in 19th century to presence. On a theoretical level, in former Czechoslovakia, the Dvořák's modern conservation principles were accepted as universal. Unfortunately, in practice, this dominant discourse was changed by conformity in a conflict with political reality. The 1950's mean a stage of expansion of the state heritage protection, but a bitter price was paid by superordination of the political criteria to the professional ones. The moral ethos suffered also a lot of injuries. This resulted in preferring bureaucratic formalism over factual approaches, voluntarism, in compromise ability and in unwillingness to risk ones position for getting involved in fundamental questions of the preservations of monuments without any deeper interests in...

Après un séjour en Irlande de 1846 à 1850, le peintre écossais Erskine Nicol (1825-1904) représenta les Irlandais dans la plupart de ses tableaux. Il remporta un franc succès à la Royal Scottish Academy (Édimbourg), puis à la Royal Academy (Londres). Nous analyserons les raisons d’une telle popularité en adoptant, entre autres, une méthode issue des études culturelles, montrant que Nicol adapta les préjugés scientifiques de son temps ainsi que les clichés sur les Irlandais afin de créer son iconographie de l’Irlande. Au-delà des portraits flatteurs des paysannes irlandaises, Nicol peignit aussi de nombreuses caricatures, suggérant qu’il était tributaire des idées impérialistes de l’époque. Pourtant, sa peinture demeure ambivalente : certaines toiles, soulignant les injustices du système agricole irlandais géré par les Britanniques, expriment la compassion du peintre. Cette remise en cause de l’autorité gouvernementale au sein d’un genre artistique aussi normé que la peinture fut rendue possible par le style de Nicol, inspiré par les peintres hollandais du XVIIe siècle, par les tableaux de David Wilkie (1785-1841), par l’école écossaise et par celle du réalisme social, un courant qui exerça une grande influence sur la peinture narrative de Nicol. Cependant, le réalisme de sa peinture fut limité car l’artiste devait vendre ses toiles pour vivre. On tentera de cerner les motivations de Nicol, pour comprendre si elles sont liées à un goût particulier pour les stéréotypes, à sa compassion pour les Irlandais ou à ses ambitions commerciales. La circulation de ses œuvres dans des expositions locales et internationales était souvent facilitée par les marchands d’art qui investirent dans ses toiles pour les revendre, ou même les reproduire sous forme d’imprimés, qui furent produits par milliers entre les années 1850 et la mort de l’artiste, ce qui contribua à faire de Nicol un peintre majeur de son époque. / After a stay in Ireland between 1846 and 1850, the Scottish painter Erskine Nicol (1825-1904) represented the Irish in most of his artworks. He was particularly successful at the Royal Scottish Academy (Edinburgh), and at the Royal Academy (London). This work investigates the reasons for his popularity, using methods that are mainly derived from cultural studies, and showing that Nicol adapted the scientific prejudices of his time, as well as the clichés on the Irish, in order to create his iconography of Ireland. Beyond his flattering portraits of Irish peasant girls, Nicol painted numerous caricatures suggesting that he complied with prevalent imperialist ideas. Yet, his paintings are ambivalent: a few canvases, highlighting the injustices generated by the British regulation of Ireland’s agricultural system, convey the painter’s compassion. This questioning of British authority through painting, a highly codified artistic genre, was enabled by Nicol’s style, inspired by the Dutch Old Masters, by the artworks of David Wilkie (1785-1841), by the Scottish School, and by social realism, an artistic movement which had an important influence on Nicol’s narrative painting. However, his realism was limited because he needed to sell his paintings to survive. This work will try to understand his motivations and to see if they were linked to his fondness for stereotypes, to his compassion for the Irish or to his commercial ambitions. The circulation of his artworks in local and international exhibitions was made easier by the work of art dealers, who invested in Nicol’s canvases and in their reproductions. Thus, thousands of prints reproducing his artworks between the 1850s and his death in 1904 made Nicol a major artist of the Victorian era.

This thesis examines how traditional medicine workshops offered by an Aboriginal health centre contribute to capacity re-building through self-care in two local communities in Manitoulin Island, Ontario. Health disparities that exist between Aboriginal people and the rest of the population have prompted a need to better understand health determinants that are of relevance in these communities including the importance of culture, tradition, and self-determination. A variety of qualitative methods were employed in this work including in-depth interviews, focus groups and “art voice.” The use of art voice on Manitoulin Island advances decolonizing methodologies by emphasizing how the incorporation of locally and culturally relevant methods or “methods-in-place,” is an effective way to engage communities in the research process. Results show the need to approach traditional teachings, health programs, and research from an Aboriginal worldview and indicate that more frequent workshops are required to empower youth and adults to practice and share traditional knowledge. Furthermore, a continuum exists in which the interest in language, culture, and tradition increases with age. Capacity can therefore be re-built over time within communities promoting autonomy and self-determination through self-care. Findings can be expected to further inform the traditional programming in participating communities, enhance existing Aboriginal determinants of health models by including traditional medicine as an element of self-care, and can act as a springboard for the inclusion of unique place-based methods into community-based research projects in the future.