This Thesis is concerned with how history is narrated in two selected works by the British artists, Tacita Dean and Jeremy Deller. Chapter one considers Deller's The Battle of Orgreave (2001), a reenactment of a violent miners' strike against Margaret Thatcher's government in 1984-1985. The reenactment brought together reenactment hobbyist and ex-miners to perform the events at Orgreave and created a discourse around the imagined historical role of the working classes. Chapter two examines Dean's book Teignmouth Electron (1999), which recounts the failed voyage of Donald Crowhurst, one of the contestants of the 1967 Golden Globe Race who committed suicide after developing 'time-madness' at sea. She offers the history of this individual as a point of entry into middle-class aspirations in England in the 1960s. Produced at the turn of the 21st century when Britain's New Labour government was instigating an image of a New Britain to match its bygone glory, both works look back to moments in the past that epitomize the decline of the country's old order. Unearthing instances of failure and defeat, each artist offers an alternative glance at Britain's past and present condition than the one promoted by New Labour.

This Thesis is concerned with how history is narrated in two selected works by the British artists, Tacita Dean and Jeremy Deller. Chapter one considers Deller's The Battle of Orgreave (2001), a reenactment of a violent miners' strike against Margaret Thatcher's government in 1984-1985. The reenactment brought together reenactment hobbyist and ex-miners to perform the events at Orgreave and created a discourse around the imagined historical role of the working classes. Chapter two examines Dean's book Teignmouth Electron (1999), which recounts the failed voyage of Donald Crowhurst, one of the contestants of the 1967 Golden Globe Race who committed suicide after developing 'time-madness' at sea. She offers the history of this individual as a point of entry into middle-class aspirations in England in the 1960s. Produced at the turn of the 21st century when Britain's New Labour government was instigating an image of a New Britain to match its bygone glory, both works look back to moments in the past that epitomize the decline of the country's old order. Unearthing instances of failure and defeat, each artist offers an alternative glance at Britain's past and present condition than the one promoted by New Labour.

This Thesis is concerned with how history is narrated in two selected works by the British artists, Tacita Dean and Jeremy Deller. Chapter one considers Deller's The Battle of Orgreave (2001), a reenactment of a violent miners' strike against Margaret Thatcher's government in 1984-1985. The reenactment brought together reenactment hobbyist and ex-miners to perform the events at Orgreave and created a discourse around the imagined historical role of the working classes. Chapter two examines Dean's book Teignmouth Electron (1999), which recounts the failed voyage of Donald Crowhurst, one of the contestants of the 1967 Golden Globe Race who committed suicide after developing 'time-madness' at sea. She offers the history of this individual as a point of entry into middle-class aspirations in England in the 1960s. Produced at the turn of the 21st century when Britain's New Labour government was instigating an image of a New Britain to match its bygone glory, both works look back to moments in the past that epitomize the decline of the country's old order. Unearthing instances of failure and defeat, each artist offers an alternative glance at Britain's past and present condition than the one promoted by New Labour. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

[pt] A Teoria Pura do Direito despontou na primeira metade do século XX como uma vigorosa crítica à teoria jurídica tradicional. A posição que contra esta dirigiu consiste em um impressionante empreendimento epistemológico, articulado de modo a afastar do estudo do Direito elementos políticos e métodos com outras ciências compartilhados. Seu autor, Hans Kelsen, pretendia dotar o jurista de um aparato teórico que lhe permitisse contemplar seu objeto de estudo com a mesma qualidade e exatidão já alcançada por quem das ciências naturais se ocupava. Para tanto, ele considerava necessário que o saber jurídico fosse alçado à categoria de saber científico autônomo, o que buscou realizar com o desenvolvimento da sua célebre doutrina. Não obstante o inconteste avanço que representou, a Teoria Pura do Direito parece conter em seu discurso um problema insolúvel que compromete sua integral sustentabilidade. Trata-se da Cláusula Alternativa Tácita, tese kelseniana versada aqui, cujo delineamento é antecedido pela investigação das premissas e conceitos fundamentais à sua compreensão. / [en] The Pure Theory of Law emerged in the first half of the 20th century as a vigorous criticism to the traditional juridical theory. This opposition consists in an impressive epistemological program, whose main target is to eliminate from the study of Law both political elements and specific methods shared with other sciences. Its author, Hans Kelsen, intended to provide a theoretical apparatus to the jurist which would allow him to contemplate his object with the same qualty and accuracy already attained in the natural sciences. In order to do so, he found necessary the juridical knowledge had both scientificity and autonomy, and his famous doctrine was conceived to achieve that. Nevertheless, in spite of the undeniable progress that came with it, the Pure Theory of Law seems to suffer from an insoluble problem that might compromise its integral sustainability. It is the Tacit Alternative Clause, Kelsenian thesis of which we shall treat here and whose delineation is preceded by the investigation of the premises and concepts which are crucial to its full understanding.

As we speak, analogue film is being phased out of the international film industry. The medium that once reigned in capturing and projecting our world's light and the flow of time, has now been rendered obsolete and replaced by digital media technology. However, analogue film remains, and has come to be increasingly used and investigated in contemporary art. In my essay, I examine how our aesthetic perception of analogue film is changing with this shift to digital film technology. How do we experience analogue film – now that it is both on the verge of disappearing from society and is put in contrast to its digital successor? My investigation is based on the thesis that analogue film is now in a state of change. By analyzing three contemporary artists I attempt to discern how this change is aesthetically articulated, and trace alternative forms of continued existence for analogue film. The British artist Tacita Dean, the Italian artist Rosa Barba and the Swedish artist Alexander Gutke all work with film in their own way, and also in the context of the changed status of analogue film today. Furthermore, I examine the possibility that these artists form an active part of a continuous reshaping of analogue film, which is taking place in the fracture created in this shift to digital media technologies.

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Il progetto di ricerca muove dall’interesse per l’emergere di nuove epistemologie della formazione professionale che riconoscono la pratica condivisa come contesto epistemologico di produzione e sviluppo di competenze. Recenti ricerche collegano le possibilità di crescita professionale del singolo allo sviluppo complessivo delle organizzazioni, interpretate come sistemi di comunità che apprendono. Il tema di fondo su cui si confronta la ricerca attiene alla trasformazione delle conoscenze dell’insegnante, all’interno dei vincoli e delle possibilità connesse all’attuale fase di transizione, in favore dell’apprendimento organizzativo. Più in dettaglio, la ricerca indaga il ruolo che assumono le conoscenze tacite nella trasformazione di conoscenza dal livello individuale a quello collettivo. / The research project originates from the interest in emerging new epistemologies of professional formation which identify shared practice as the epistemological context of competence creation and development. Recent research relates the opportunities of individual professional growth to the overall development of the organizations, considered as learning community systems. Given the limits and possibilities connected to the present moment of transition, the main point the research deals with is the transformation of the teacher's knowledge in favour of organizational learning. To be more precise, the research investigates the role of tacit knowledge in the transformation of knowledge from individual to collective level.