Growing up in a bicultural household, navigating the F train as well as mountain creeks, studying culture and then participating in its production, these are some of the idiosyncrasies that I bring to my work. My investigations are rooted in combining a rediscovery of the sensuousness of the natural world and an investigation of the poetics of everyday life. Choosing materials and situations within the realm of the everyday, I'm interested in a transformation that suggests the infinite potential and worth in all things. The resulting objects have identities as complex as my own. They are ridiculous and serious, normal and magical, and confident in their awkwardness. This document was created in Microsoft Word X for mac.

After the Czechoslovak coup d'état of 1948, the cultural politics of the Communist Party became the only power that should organize, regulate and evaluate cultural affairs. This brouht radical changes of the status of artists. That artists who belonged to the rank of intellectuals had to follow needs of the new kind of society. They accepted orders from above and their activity was strictly controlled. Proletarian amateurs and folk art were officially encouraged. The examples of the progressive art were found in the USSR and also among personalities from the history of the national culture. Cinematography, to which was placed a requirement of topicality, also presented the new image of the artist. The most noticeable results were reached in biografical films about our classics and films exposing folklore and cultural life of the working class. The integration of an intellectual artist into the new society became a pivotal theme in movies Písnička za groš and Nezlob, Kristino. As episodic characters, we can find also completely negative types of artists - enemies of that new society. This spectrum corresponds to a general typology of people that was used in art, journalism and public speech in general: mature, confused and totally inadaptable (designed to be displaced). Exeptional cases of...

The aim of this work was to provide complete overview of rights that the law confers on performers and to focus in more detail on the possibility of protection and defence of these rights. This goal is reflected in the whole concept of the work - the first chapters describe the performer's rights and the second part focuses on the protection of these rights whether by the performer him or herself or by the collective administrator. The opening chapter deals with explanation of the basic terms. First, it was necessary to clarify, who is a performer from the lay point of view but also under the Copyright Act definition. Then I define the subject of the performer's rights in general - the performance. Finally, the chapter covers also the joint representative of performers who often represents an artistic body externally. The second chapter is slightly more extensive. It deals with the historical development of copyright. Because the Czech copyright is significantly influenced by international and European law, the following two big sub-chapters focus on these two huge legal systems and mainly on agreements and regulations that have directly affected the performers' rights in our country. Very important for the whole work is the third chapter which contains moral and economic rights of performers. This...

Le dessein de cette étude est de formuler une description adéquate de la création artistique. Elle part de l’hypothèse que les descriptions existantes de ce processus sont finalistes et, en conséquence, erronées. Elles sont finalistes, en cela qu’elles postulent la possibilité de prévision du résultat du travail artistique. Ce postulat repose sur l’erreur de construire une théorie de la création en partant de l’expérience de la réception, ce qui revient à se livrer à une « prophétie rétrospective ». Une fois établie la généalogie de cette erreur, il est possible de proposer une description concurrente, qui n’est plus finaliste, mais générative, concentrée non sur les éventuels objets visés par les pratiques, mais sur les modalités selon lesquels l’acte créatif se déploie. / My main concern is to offer a correct description of the way artistic creativity works. My starting point is to acknowledge that most existing descriptions of artistic creativity fail because they are “goal-oriented”: they operate as if it was possible to foresee what an artwork will be, even before this artwork is actually produced. They do so because they are, on a logical level, essays in reverse engineering: they start from the way we receive artworks, and they try to deduce from it they way we produce artworks. After establishing that this retrospective prophecy is an error, I show that a “means-oriented” and generative description of creativity is more convincing, and more fitting to both the organicity of artistic creation and the organic unity of artworks.

M.Tech. / This study is based on the premise that awareness of active citizenship among South African citizens should be encouraged and can be developed through specific educational and skills interventions embedded in Visual Art learning programmes. South Africa‟s developing democracy requires active citizens with the capacity to disseminate values of equality, dignity, liberty and social justice, amongst other constitutional rights. Our country‟s history in the struggle for liberation encompasses a legacy of resistance, and screen-printed protest posters played an important role in communicating dissent towards the apartheid state (Seidmann 2009, Peffer 2009). My research examines the role of screen-printing as a particular graphic medium which is an organising tool to create awareness and communication. The project uses co-operative enquiry as a participatory action research method to facilitate the application of hand-made fine art screen-printed artworks and posters that support skills development, an understanding of self-identity and a sharing of skills that contribute to active citizenship. I present three visual art screen-printing projects that I facilitated from 2010 to 2011 at Artist Proof Studio (APS), an art centre in Johannesburg, whose mission is to inculcate aspects of active citizenship among the participating learners. I contend that the combination of all three screen-print projects presented to the group of students, leads to skills-development, awareness of personal identity and participation in community engagement projects which may enhance their ability to participate as active citizens and which in turn supports the mission statement of the education unit at APS. Such an intervention serves as a learning model that can further contribute to social, educational and economic redress among the participants at APS.

The authors' rights nowadays concern every individual. They significantly influence the performing artists, who use authors' works to make their living. This thesis analyses the specific impact of the Czech legal regulations on the professional musicians, describes the competences of the collecting societies, refers to the difficulties due to differences in the legal regulations on the international scale and defines musical theme as a new term in the legal context. The thesis proves the advantage of potential use of this term in both Czech and international courts practise.

The thesis outlines the law of performers' rights, including its historical and theoretical background, relation to other areas of law, explanation of moral and economic rights of performers, problems of contractual law and issues related to the enforcement of rights. The core of the thesis lies in analyses of the terminology of artistic performances (including the performances of variety and circus artists) and the notion of a performer, the borders between protected and unprotected performances and the relation to a work of art, as well as in practical issues related to the collectively delivered performances by the members of an ensemble and their representation by a so-called joint representative. The thesis focuses on those aspects which are specific to performers or which cause particular difficulties in practical application; in these cases, the author offers his own solutions.

O objetivo deste trabalho é apresentar uma leitura do conto The Murders in the rue Morgue, do escritor norte-americano Edgar Allan Poe (1809-1849), do ponto de vista de sua relação com seu contexto histórico de produção. Uma parte essencial desta pesquisa foi o estudo da fortuna crítica do escritor, a qual em grande parte ocupa-se em fazer leituras da obra de Poe como objeto de ideologia, destacado de uma realidade sócio-histórica e do lugar do escritor como trabalhador. A discussão feita aqui sobre esta parte de sua fortuna crítica aponta alguns mecanismos por meio dos quais a crítica desvia a atenção da leitura da obra de Poe para questões de ordem puramente formal ou mesmo biográfica. O estudo do contexto histórico em que viveu Poe, bem como de material crítico que estabelece relações entre tal contexto e sua obra, fornece fundamentação importante para a leitura do conto aqui apresentada, a qual visa a evidenciar a configuração de contradições históricas dentro da forma literária. Posicionando Edgar Allan Poe em seu devido lugar histórico, é possível compreender como a forma do conto de detetive sedimenta tais contradições, revelando os esforços do escritor em lidar com o material sócio-histórico disponível, conforme a leitura de The Murders in the rue Morgue feita aqui busca demonstrar. / The objective of this research is to present an analysis of the North American writer Edgar Allan Poes short story The Murders in the rue Morgue, from the perspective of its relations with its historical context of production. A central part of this research was the study of the critical material produced about the author and his work, whose major interest, in general, is to analyze Poes work as an object of ideology, detached from a social historical reality and from the writers position as a worker. The discussion presented here about this part of the criticism indicates some mechanisms through which criticism distracts the attention from the reading of Poes work to questions of merely formal or biographical order. The study of the historical context in which Poe lived, as well as that of critical material which establishes relations between this context and his work, provides important basis for the analysis of the short story presented here, which aims at demonstrating the representation of historical contradictions inside the literary form. Positioning Edgar Allan Poe in his historical place, it is possible to understand how the form of the detective story is related to these contradictions, revealing the writers efforts to deal with the social historical content available, as the analysis presented here intends to show.

Este trabalhou tomou como ponto de partida a presença, no meio artístico brasileiro, entre 2000 e 2015, dos assim chamados coletivos de artistas. Ele procurou circunscrever histórica e conceitualmente as \"práticas artísticas colaborativas\" e as \"estratégias de visibilidade\" desenvolvidas por esses agrupamentos de artistas \"emergentes\" - no contexto de seu envolvimento, entre 1999 e 2001, com os movimentos altermundialistas e antiglobalização, e, a partir de 2003, com movimentos sociais de luta por moradia - alinhando-se, ao menos discursivamente, com a perspectiva dos \"de baixo\". De outro lado, o trabalho também identificou o desenvolvimento simultâneo, \"pelo alto\", de um complexo de procedimentos curatoriais pautados por novos modos de apresentação (displays) de objetos artísticos em exposições de \"arte contemporânea\". Por meio dos novos procedimentos curatoriais, tanto a 27ª Bienal de São Paulo (2006) quanto as mostras de \"arte contemporânea\" do Museu de Arte do Rio (2013-2015) foram capazes de absorver e canalizar, em seus discursos, parte das demandas \"subalternas\" associadas à produção dos coletivos. Para refletir criticamente sobre esse complexo de fenômenos do campo artístico, a pesquisa procurou articular uma discussão atualizada em torno dos conceitos gramscianos de \"hegemonia\" e de \"revolução passiva\". Tais conceitos, formulados originalmente pelo pensador italiano Antonio Gramsci (1891-1937), têm sido reprocessados teoricamente, no debate da sociologia brasileira de extração marxista, para pensar o ciclo dito \"lulista\" do Brasil contemporâneo. Em síntese, uma vez verificada a absorção das práticas \"emergentes\" e \"colaborativas\" pelo circuito artístico local, este trabalho procurou estabelecer e questionar historicamente as contradições e possíveis confluências das \"estratégias de visibilidade\", associadas às demandas dos \"de baixo\", com o desenvolvimento combinado dos novos procedimentos curatoriais, operados \"pelo alto\". / This research was motivated by the raising of the so-called artist collectives in Brazilian art field, particularly between the years 2000 and 2015. The thesis aims to delineate conceptually and historically the \"collaborative artistic practices\" and the \"strategies of visibility\" carried out seemingly \"from below\" by these \"emerging\" groups of artists - engaged mainly with the alter-mundialization and anti-globalization movements between 1999 and 2001, and, since 2003, with social struggles for housing. Furthermore, this survey also realized the simultaneous development of a complex of curatorial proceedings \"from the top\", based on new modes of display artistic objects in \"contemporary art\" exhibitions. Through these new curatorial practices, both the 27th Sao Paulo Bienal (2006) and the \"contemporary art\" exhibitions held by the Art Museum of Rio (2013-2015) managed to absorb and convey, in its discourses, part of the \"subaltern\" demands brought forward in the work produced by the artist collectives. In order to critically reflect about this complex of phenomena in the art field, the research articulates a debate operating the Gramscian concepts of \"hegemony\" and \"passive revolution\". These concepts, originally formulated by the Italian thinker Antonio Gramsci (1891-1937), had been theoretically reenacted in the Brazilian sociological debate derived from a Marxist background, to think the so-called \"lulist\" cycle in contemporary Brazil. Finally, after verifying the absorption of the \"emergent\" and \"collaborative\" practices by the local art circuit, this research aims to delineate and problematize the contradictions, and possible confluences, between the \"visibility strategies\" coming \"from below\" and the combined development of the new curatorial proceedings \"from the top\".

O objeto da presente pesquisa é a abordagem estética e pedagógica do Teatro de Figuras Alegóricas, na encenação Chamas na Penugem, sob a coordenação da Profa. Dra. Ingrid Dormien Koudela com alunos do curso de Licenciatura de Teatro. Identifica-se, neste projeto, a concepção da encenação como prática pedagógica e o seu cerne está nas relações existentes entre a criação artística, a pedagogia do teatro e o artista-docente. As proposições do presente trabalho englobam procedimentos referentes ao jogo teatral, à leitura de imagens e aos processos colaborativos. No que tange à leitura da imagem, são analisados os fundamentos estéticos da didática alegórico-diabólica de Peter Brueghel, o Velho relacionados à descrição de uma série de gravuras intituladas Os Sete Vícios Capitais. / The purpose of the present research is the pedagogic and aesthetic approach of the Theather of Allegorical Figures in the staging of Chamas na Penugem (Flames on down), under the coordination of the PhD Professor Ingrid Dormien Koudela with students of the Theater Degree Course. It can be noticed in this project the conception of staging as a pedagogic practice, and its essential part is in the existing relationship between the artistic creation, the theater pedagogy and the artist-teacher. The propositions of the present paper gather procedures referring to the theater game, the image reading and the collaborative processes. Particularly related to the image reading, is the aesthetic foundations of the diabolic-allegorical didactics of Peter Brueghel, the Elder, related to the description of a set of pictures called The Seven Deadly Sins.