Journal articles: 'Rockhampton School of Arts History'

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Arcilla, René V. "Liberal‐arts learning between school and the road." Journal of Philosophy of Education 55, no. 4-5 (August 2021): 714–20. http://dx.doi.org/10.1111/1467-9752.12603.

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Mayer, Anastasiya. "World Congress of School History Teachers." ISTORIYA 12, no. 12-2 (110) (2021): 0. http://dx.doi.org/10.18254/s207987840019438-0.

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On October 4—7, 2021, the world's first World Congress of School History Teachers was held in Moscow. The initiative to hold the Congress came from the Academy of the Ministry of Education of Russia, the Institute of World History of the Russian Academy of Sciences, the All-Russian Public Organization “Association of Teachers of History and Social Studies” and the State Academic University for the Humanities. The European Association of History Teachers “Euroclio” acted as a co-organizer of the Congress. During the Plenary session of the Congress and 7 sections, Russian and foreign history teachers discussed the most pressing issues of pedagogical practice: the experience of creating concepts for teaching history at school in different countries, issues of the correlation of national and world history in school curricula, the feasibility of dividing the educational process into basic and advanced levels, problems and prospects of the distance form of teaching history in schools, the format and structure of modern school textbooks. Special attention was paid to the discussion of teaching the history of the Second World War in different countries of the world and the history of revolutions. Also during the work of the Congress, the IV Congress of Russian History Teachers was held. Within the framework of the congress, the participants discussed topical issues and problems of teaching history in Russian secondary schools: expanding ties and exchange of experience between teachers from different regions of Russia, experience and further prospects for the introduction of the Historical and Cultural Standard as part of the concept of teaching history at school, issues of synchronization of national and of general history in the school curriculum, improvement of evaluation procedures in history, methodological support and development of programs for teaching regional history as part of the course of national history.

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Kotin, Joshua. "Funding the Black Arts Repertory Theatre/School." American Literary History 34, no. 4 (November 18, 2022): 1358–88. http://dx.doi.org/10.1093/alh/ajac152.

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Abstract The Black Arts Repertory Theatre/School (BARTS) opened in Harlem in May 1965 and closed less than a year later. During that year, it became a center for arts and activism, a target of government surveillance and infiltration, and a symbol in a national controversy about government spending and accountability, and Black nationalism and civil disobedience. Today, BARTS is recognized as the inspiration for the Black Arts Movement. This article presents a history of BARTS by detailing how it was funded. The article also intervenes in debates about government sponsorship of the arts, and complicity and cooption.Did federal funding lead to the destruction of BARTS? If so, was there any alternative?

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Bezemer, Jeff, and Gunther Kress. "Visualizing English: a social semiotic history of a school subject." Visual Communication 8, no. 3 (August 2009): 247–62. http://dx.doi.org/10.1177/1470357209106467.

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CHALMERS, F. G. "The Early History of the Philadelphia School of Design for Women." Journal of Design History 9, no. 4 (January 1, 1996): 237–52. http://dx.doi.org/10.1093/jdh/9.4.237.

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Jurek, Krzysztof, and Jacek Kozieł. "Byzantine Themes in Polish High School Liberal Arts Education." Studia Ceranea 9 (December 30, 2019): 251–58. http://dx.doi.org/10.18778/2084-140x.09.13.

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The authors focus how Byzantine motifs are presented in the teaching of humanities subjects. The question of the presence of Byzantine motifs is essentially one about the presence of Byzantine heritage in Polish culture. With reference to two school subjects – Polish and History – the authors seek to establish what Polish school students are taught about the reach of Byzantine culture. Present-day teaching of both political and cultural history is underpinned by Occidentalism. Only occasionally is attention paid to the “Eastern” features of Poland’s past. A good example of this is the treatment of one of the most important Polish literary texts, the school perennial, Bogurodzica. This draws on Greek religious hymns, contain words originating in the Greek liturgy, and also alludes to a particular type of icon. Accordingly, the connections between the oldest Polish literary text and Byzantine culture are very clear. However, when classroom teachers discuss Bogurodzica with their pupils, detailing the above-mentioned features, are they aware that this text is an epitome of the presence of Byzantine motifs in Polish literature? Apparently not. With regard to the teaching of history, Byzantine motifs can be approached from at least three angles; in terms of imperial political events, in terms of religious (Eastern rite) aspects of Byzantine culture, and finally in terms of awareness of connections between Polish culture and Eastern rite Christianity, as well as Eastern nations and states viewed as heirs of Byzantine culture. In Polish history there has been a side-lining of the nation’s break with Eastern Christianity even though during certain periods this was the faith of half the Commonwealth’s inhabitants. The marginalisation of this topic does not simply impose a limit on knowledge but it prevents the understanding of particular aspects of our history.

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Seters, John Van, and Raymond F. Person. "The Deuteronomic School: History, Social Setting, and Literature." Journal of the American Oriental Society 123, no. 2 (April 2003): 388. http://dx.doi.org/10.2307/3217693.

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Rampley, Matthew. "Art History and the Politics of Empire: Rethinking the Vienna School." Art Bulletin 91, no. 4 (December 2009): 446–62. http://dx.doi.org/10.1080/00043079.2009.10786147.

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Goto-Jones, C. "The Kyoto School, the Cambridge School, and the History of Political Philosophy in Wartime Japan." positions: east asia cultures critique 17, no. 1 (March 1, 2009): 13–42. http://dx.doi.org/10.1215/10679847-2008-024.

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FAGG, JOHN. "Seeing History/Showing Seeing in Ashcan School Painting." Journal of American Studies 43, no. 3 (November 2, 2009): 535–42. http://dx.doi.org/10.1017/s0021875809991307.

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Chertov, V. F., and V. P. Zhuravlev. "Journal “Literature at School”: History, traditions, prospects." Literature at School, no. 1, 2020 (2020): 9–22. http://dx.doi.org/10.31862/0130-3414-2020-1-9-22.

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First published in 1914, the journal “Mother Tongue at School”, which examined the issues of studying the Russian language and literature, became the basis for creating two respected research and methodological journals: “Russian Language at School” and “Literature at School”. The article presents the analysis of the main periods in history of the journal “Literature at School”, notes special role of the chief editors in shaping the concept and periodical issues. Based on the comparative historical method, the authors of the article examine the continuity in the development of the journal, the most significant areas, topics, and relevant issues of teaching literature, which are reflected in publications of different years. In the final part of the article, the tasks of maintaining continuity in the development of the magazine (traditional rubrics “Our Spiritual Values”, “Search. Creativity. Mastery”, “Methodical Heritage”) and addressing the acute issues of reading and studying literature in the modern information society (rubrics “Point of View”, “Commonwealth of Arts”, “Literary Map of Russia”, “Media Education”).

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Moyo, Zvisinei, and Juliet Perumal. "Disadvantaged School Contexts and Female School Leadership in Zimbabwe." International Journal of African Renaissance Studies - Multi-, Inter- and Transdisciplinarity 14, no. 1 (January 2, 2019): 83–105. http://dx.doi.org/10.1080/18186874.2019.1610900.

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Fedorov, Roman. "IMAGES OF RUSIN’S WORLD IN CREATIVITY OF THE TRANSCARPATHIAN SCHOOL OF FINE ARTS." Rusin, no. 51 (March 1, 2018): 329–43. http://dx.doi.org/10.17223/18572685/51/21.

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Clemitshaw, Gary. "History in the Balance: The Marginalisation of History in the Secondary School Curriculum in England." International Journal of the Humanities: Annual Review 7, no. 9 (2009): 1–10. http://dx.doi.org/10.18848/1447-9508/cgp/v07i09/42743.

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Bell, Daniel Orth. "New Identifications in Raphael's School of Athens." Art Bulletin 77, no. 4 (December 1995): 638. http://dx.doi.org/10.2307/3046140.

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Smith, Christopher J. "A HUNDRED YEARS OF ROMAN HISTORY: HISTORIOGRAPHY AND INTELLECTUAL CULTURE." Papers of the British School at Rome 80 (September 24, 2012): 295–323. http://dx.doi.org/10.1017/s006824621200013x.

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In 2010, the Society for the Promotion of Roman Studies achieved its centenary. In 2012, the British School at Rome, which was closely linked to the origins of the Roman Society, celebrates the centenary of its Royal Charter. This marked the formal establishment of the distinctively broad and interdisciplinary remit of the School by the inclusion of humanities, art and architecture in a single institution. The combination of these two anniversaries has given rise to this attempt to think through some of the paths that Roman studies have taken, and to understand them within the context of broader developments in particularly British and Italian historiography. The Roman Society and the British School at Rome have many points of connection, both in terms of individuals and in terms of research interest. Recent work on the development of a British historical tradition has shown that it remains important to ground the reading of historical scholarship within the intellectual trajectory of its practitioners. This is, therefore, an argument about how the research represented in theJournal of Roman Studies, and conducted at the British School at Rome, and ultimately more widely, should be seen in a historiographical context.

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Kisida, Brian, Laura Goodwin, and Daniel H. Bowen. "Teaching History Through Theater: The Effects of Arts Integration on Students’ Knowledge and Attitudes." AERA Open 6, no. 1 (January 2020): 233285842090271. http://dx.doi.org/10.1177/2332858420902712.

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Faced with accountability pressures and limited resources, education policymakers make difficult choices regarding school curricula. In recent years, studies have documented a decreased emphasis in arts and humanities instruction. One potential way for schools to fill this gap includes partnering with arts and cultural organizations to provide arts learning opportunities through arts integration, yet there is limited evidence on the effectiveness of such programs. We examine one such partnership by evaluating the efficacy of a program that infuses history content with theater. By randomly assigning school groups to participate in this program, we are able to draw causal conclusions about its effects. We find that students demonstrate increases in historical content knowledge, enthusiasm for learning about history, historical empathy, and interest in the performing arts as a result of this program. These findings suggest that there are valuable educational benefits from arts-integrated learning opportunities provided through school partnerships with arts organizations.

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Hull, Judith S. "The "School of Upjohn": Richard Upjohn's Office." Journal of the Society of Architectural Historians 52, no. 3 (September 1993): 281–306. http://dx.doi.org/10.2307/990836.

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Gournay, Isabelle. "Architecture at the Fontainebleau School of Fine Arts 1923-1939." Journal of the Society of Architectural Historians 45, no. 3 (September 1986): 270–85. http://dx.doi.org/10.2307/990162.

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Fomina, Anna A. "The Important Page in the History of the Leningrad-Petersburg Library School." Bibliotekovedenie [Library and Information Science (Russia)], no. 3 (May 24, 2010): 122–24. http://dx.doi.org/10.25281/0869-608x-2010-0-3-122-124.

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Historical essay written by Anatoly Vaneev, the head of subdepartment of library science of the Saint-Petersburg University of Culture and Arts since 1974 to 1995, opens celebrations in honour of future centenary of the Saint-Petersburg University of Culture and Arts. Exactly thanks to the works of A. Vaneev the Russian library science was enriched by contribution of leningrad-saintpetersburg school. The author made in-depth and comprehensive account of his colleagues’ publications: M. Arkhipova, I. Barenbaum, E. Gorsh, V. Kreidenko, V. Sakharov, N. Skrypnev, G. Firsov, N. Chagina and many others whose works are in the list of the most important sources of the historical essay.

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Kolm, Serge-Christophe. "History of public economics: The historical French school." European Journal of the History of Economic Thought 17, no. 4 (October 2010): 687–718. http://dx.doi.org/10.1080/09672567.2010.482994.

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Huang, Jifeng. "A View of the Definition, Origination and Development of the Term ‘Chinese School of Animation’." Animation 17, no. 3 (November 2022): 318–33. http://dx.doi.org/10.1177/17468477221114366.

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This article clarifies the definition of ‘Chinese School of Animation’ and chronologically traces this term’s origination and development. The rise of the term ‘Chinese School’ was inspired by the Zagreb School of Animation. Chinese scholars generally define the Chinese School as a set of internationally award-winning films based on the collectivist discourse, which canonizes Chinese meishu films. The connotation of the Chinese School has kept changing in different times of China’s history, and the prevalence and decline of this term in Chinese animation studies are closely related to China’s cultural policies, nationwide nationalist thoughts, economic systems and its animation industry.

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DRURY, SARAH. "SCHOOL OF GENIUS: A HISTORY OF THE ROYAL ACADEMY OF ARTS BY JAMES FENTON." Art Book 13, no. 4 (November 2006): 36–37. http://dx.doi.org/10.1111/j.1467-8357.2006.00727.x.

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Sisiu, Janis. "Two unpublished icons of the Kastoria school." Zograf, no. 31 (2006): 187–93. http://dx.doi.org/10.2298/zog0731187s.

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The paper is dealing with two unpublished icons from the Byzantine museum of Kastoria: Royal door with the Annunciation (nr. 434; ca. 1400) and St. Nicholas with scenes of his Life (nr. 39; the end of 14th century).

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Wallace-Hadrill, Andrew. "The British School at Rome 1901–2001." Papers of the British School at Rome 69 (November 2001): 1–2. http://dx.doi.org/10.1017/s0068246200001732.

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Sokolyuk, L. "Kharkiv Art History School (1900s – early 2020s)." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (October 2021): 55–70. http://dx.doi.org/10.33625/visnik2021.02.055.

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The article attempts to outline the activity of Kharkiv art history school from the time of its formation in the 1900s to the present day. The author reveals the main directions of research of university art history in Kharkiv, as well as figures of museum institutions who were engaged in the study of topical problems of art before the outbreak of Stalinist terror, when Kharkiv art history school was completely destroyed, and its representatives were either shot (F. Shmit, P. Fomin, K. Slipko-Moskaltsiv) or sent into exile (S. Taranushenko, P. Zholtovsky, D. Gordeiev, O. Berladina). It is emphasized that none of them ever returned to Kharkiv. This became a serious obstacle in the restoration of the scientific art history school in the city. This process lasted for a very long time in comparison with other artistic centers, Kyiv and Lviv in particular. The article reveals the traditions of art history science in Kharkiv, laid down in the first third of the 20th century before its destruction in the Stalinist period. The author also shows the changes in the organization of research activities in modern conditions, when university art history has become a thing of the past, and the scientific center has moved to the higher art institution of the city, which became the Kharkiv Institute of Art and Industry (the Kharkiv State Academy of Design and Arts from 2001).The main directions of the development of art history in this higher educational institution of art in Kharkiv are revealed. It is shown that, first of all, Ukrainian studios were resumed as a separate direction and such an outstanding phenomenon of Ukrainian national art as M. Boichuk’s school, destroyed during the Stalinist repressions, was reconstructed. Separate pages about some figures of the glorious cohort of Ukrainian masters who, with their work, personified the bright and tragic era for the Ukrainian creative intelligentsia of the 1920s, namely artist-writer M. Zhuk as well as representatives of the avant-garde phenomenon in the artistic culture of the 20th century in Kharkiv (V. Yermilov, B. Kosarev, A. Petrytsky), were also revealed. Not only was the range of Oriental studies restored, but to some extent expanded, the study of Far and Middle Eastern art was introduced, and the study of Ukrainian art Judaica and Jewish art was brought to the wider modern world. In the Soviet period this was impossible due to the policy of the Soviet power. Ukrainian theater decoration art, Ukrainian school of art photography, contemporary art became new directions. The development of established traditions and deepening of the study of the sacred art and modern art forms are among the prospects for further directions.

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MacDonald, Heather. "Recent American Library School Graduate Disciplinary Backgrounds are Predominantly English and History." Evidence Based Library and Information Practice 14, no. 2 (June 12, 2019): 119–21. http://dx.doi.org/10.18438/eblip29550.

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A Review of: Clarke, R. I., & Kim, Y.-I. (2018). The more things change, the more they stay the same: educational and disciplinary backgrounds of American librarians, 1950-2015. School of Information Studies: Faculty Scholarship, 178. https://surface.syr.edu/istpub/178 Abstract Objective – To determine the educational and disciplinary backgrounds of recent library school graduates and compare them to librarians of the past and to the general population. Design – Cross-sectional. Setting – 7 library schools in North America. Subjects – 3,191 students and their 4,380 associated degrees. Methods – Data was solicited from every ALA-accredited Master of Library Science (MLS) program in the United States of America, Canada, and Puerto Rico on students enrolled between 2012-2016 about their undergraduate and graduate degrees and areas of study. Data was coded and summarized quantitatively. Undergraduate degree data were recoded and compared to the undergraduate degree areas of study for the college-educated American population for 2012-2015 using the IPEDS Classification of Instructional Programs taxonomic scheme. Data were compared to previous studies investigating librarian disciplinary backgrounds. Main Results – 12% of schools provided data. Recent North American library school graduates have undergraduate and graduate degrees with disciplinary backgrounds in humanities (41%), social sciences (22%), professions (17%), Science, Technology, Engineering and Math (STEM) (11%), arts (6%), and miscellaneous/interdisciplinary (3%). Of the humanities, English (14.68%) and history (10.43%) predominate. Comparing undergraduate degrees with the college-educated American population using the Integrated Postsecondary Education Data System (IPEDS) classification schema, recent library school graduates have a higher percentage of degrees in social sciences and history (21.37% vs. 9.24%), English language and literature/letters (20.33% vs. 2.65%), computer and information science (6.54% vs. 2.96%), and foreign languages, literatures, and linguistics (6.25% vs. 1.1%). Compared to librarians in the past, there has been a decline in recent library school graduates with English language and literature/letters, education, biological and physical sciences, and library science undergraduate degrees. There has been an increase in visual and performing arts undergraduate degrees in recent library school graduates. Conclusion – English and history disciplinary backgrounds still predominate in recent library school graduates. This could pose problems for library school students unfamiliar with social science methodologies, both in school and later when doing evidence-based practice in the work place. The disciplinary backgrounds of recent library school graduates were very different from the college-educated American population. An increase in librarians with STEM backgrounds may help serve a need for STEM support and provide more diverse perspectives. More recent library school graduates have an arts disciplinary background than was seen in previous generations. The creativity and innovation skills that an arts background provides could be an important skill in librarianship.

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MacKenzie, S. R. "The School of Henry." Eighteenth-Century Life 35, no. 1 (January 1, 2011): 211–15. http://dx.doi.org/10.1215/00982601-2010-037.

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Salonikov, Nikolay V., and Konstantin V. Sutorius. "Episcopal schools of Novgorod diocese under Feofan Prokopovich." Vestnik of Saint Petersburg University. History 67, no. 4 (2022): 1047–64. http://dx.doi.org/10.21638/spbu02.2022.402.

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The paper is devoted to two schools under the jurisdiction of Feofan Prokopovich, Archbishop of Novgorod in 1725–1736: a school in Novgorod founded in 1706, and a school in Saint-Petersburg in the compound of archbishop on the Karpovka river, founded in 1721. The set of sources which represent the history of these schools needs to be updated. The scholarship still has referred to the perception formed in the 19th century. The paper introduces new sources, which reveal that the school in Novgorod did not cease to exist when Prokopovich became Archbishop of Novgorod. There is evidence to suggest that the school functioned in 1729 and perhaps in 1730. It underwent downsizing was resumed its activities in 1732. At the same time, the school on the Karpovka river did not undergo such considerable changes. “Spritual Regulation” (1721) did not affect the curriculum of the school in Novgorod, which included only the study of languages in the 1730s (Church Slavonic, Greek and Latin), although Prokopovich was the author of this document. The curriculum of the Karpovka seminary followed the guidelines of “Spritual Regulation” only partly. Here, besides languages (Church Slavonic and Latin), Music and Arts were significant subjects. Even those who didn't study Latin studied these subjects. The choir of the archbishop was comprised of students, and while Prokopovich lived in Moscow (1729–1731), he took his students with him. The study of Arts enabled the alumni to pursue artistic careers. Both Novgorod schools can be compared to the school in Alexander-Nevsky monastery and the gymnasium of the Academy as schools providing liberal education.

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Choppin, Alain. "Nicholls Jason (éd.). School History Textbooks Across Cultures: International Debates and Perspectives." Revue française de pédagogie, no. 158 (March 1, 2007): 179–81. http://dx.doi.org/10.4000/rfp.555.

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Chubaryan, Alexander. "Russia of the 20th Century in the French School History Textbook." ISTORIYA 13, no. 10 (120) (2022): 0. http://dx.doi.org/10.18254/s207987840023540-3.

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The article analyzes the place and image of Russia in the French history textbook for the senior class by Guillaume Le Quintrec, which is one of the most popular textbooks in France today and was written in accordance with the new school history curriculum adopted in 2019. Unlike the program and methodological recommendations for it, the textbook presents a fairly balanced analysis of the events that preceded World War II. The author focuses on the European "policy of appeasement of the aggressor" and on the Munich Agreement of 1938 as the culmination of this policy. The Soviet-German pact of 1939 is rightly presented by Le Quintrec as a forced measure on the part of Stalin after the failure of Soviet attempts to create a system of collective security in Europe. As for the description of the events of World War II in the textbook, they are more tendentious. The main events on the eastern front, although mentioned, are presented as an addition to what happened on the western front. Thus, French children may get the impression that the Battle of Stalingrad or the Battle of Moscow did not determine the events on the fronts, but only contributed to the victory of the Allies, which does not correspond to historical reality. However, in describing the events of the Second World War, the text of the textbook seems to be more historical than the content of the program, where the role of the USSR in the victory over Nazism is minimized. Also in the textbook, the main blame for the outbreak of the Cold War is laid on the USSR, and modern Russia is called a "resurgent force" that claims to change the world order. In general, despite the obvious negative trends in the approach to teaching history in European countries, on some key issues of the history of the 20th century, the text of Le Quintrec's textbook looks more balanced than the new French history curriculum adopted in 2019.

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Rapoport, Alek. "Tradition and Innovation in the Fine Arts." Canadian-American Slavic Studies 45, no. 2 (2011): 183–206. http://dx.doi.org/10.1163/221023910x535593.

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AbstractSince childhood, AR was attracted by art. His first teacher, E. Sagaidachny, was a former member of the nonconformist groups “Youth Union” and “The Donkey Tail”. Later, in Leningrad, AR enrolled in the V. Serov School of Art. In spite of official Socialist Realism, some teachers (Shablovsky, Gromov, Sudakov) introduced their students to Russian avant-garde. AR educated himself, copying the paintings of Old Masters in the Hermitage Museum. During 1959-1963 AR studied Russian Suprematism and Constructivism in the Leningrad's Institute for eater, Music and Cinema under the supervision of N. Akimov. AR considered himself as a follower of Russian Constructivism with the roots in ancient Mediterranean and Byzantine art. After graduating, AR's life was full of different activities. He preferred teaching at the V. Serov School of Art, but was fired for “ideological conspiracy” as a founder of the new courses – Technical Aesthetics, Yu. Lotman's eory of Semiotics and Russian Constructivism. In the 1970s AR became an active member of a nonconformist artist group TEV (Fellowship of the Experimental Exhibitions) and the co-founder of the ALEF group (Union of Leningrad's Jewish Artists). This activity brought close attention of KGB and he was forced to emigrate in 1976. Living in the USA, AR criticized American contemporary art for its un-spirituality, commercialism and rejection of traditions – a necessary basis of existence of art. He belonged to two traditional cultures, Jewish and Russian, and his art is traditional. His art represents his own thoughts turned into his paintings, with a great appreciation to discoveries of the Old Masters. And the circle is not closed.

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Stelmashchuk, Halyna. "Department of history and theory of art of the Lviv national Academy of arts: the role of academician of the Yakym Zapasko in the creation of the Department of history of art and the dissertation Council, history, achievements, perspectives." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 4–18. http://dx.doi.org/10.37131/2524-0943-2019-39-01.

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The article is devoted to the history, achievements and prospects of the Department of history and theory of arts of Lviv National Academy of Arts. Emphasis is placed on the role of the doctor of arts, Professor, academician of Yakуm Zapasko in the creation of the graduate school, graduate Department of Historу and Theory of Art and the dissertation Committee LNAM. The publication has an informative value.

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Askari. "Art School Cinema: Rex Ingram and the Lessons of the Studio." Film History 26, no. 2 (2014): 112. http://dx.doi.org/10.2979/filmhistory.26.2.112.

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Suh, Yonghee. "Past Looking: Using Arts as Historical Evidence in Teaching History." Social Studies Research and Practice 8, no. 1 (March 1, 2013): 135–59. http://dx.doi.org/10.1108/ssrp-01-2013-b0010.

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This is a comparative case study of how three high school history teachers in the U.S.A. use art in their practice. The following research question was investigated: How do secondary history teachers incorporate the arts—paintings, music, poems, novels, and films—in their teaching of history and why? Data were collected from three sources: interviews, observations, and classroom materials. Grounded theory was utilized to analyze the data. Findings suggest these teachers use the arts as historical evidence roughly for three purposes: First, to teach the spirit of an age; second, to teach the history of ordinary people invisible in official historical records; and third, to teach, both with and without art, the process of writing history. Two of the three teachers, however, failed to teach historical thinking skills through art.

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Wickham, Chris. "Medieval studies and the British School at Rome." Papers of the British School at Rome 69 (November 2001): 35–48. http://dx.doi.org/10.1017/s0068246200001756.

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GLI STUDI MEDIEVALI E LA ‘BRITISH SCHOOL AT ROME’Le ricerche in campo medievale hanno costituito uno dei tratti distintivi dell'attività della ‘British School at Rome’ sin dagli esordi, con la pubblicazione di consistenti ricerche storico artistiche (Rushforth) e di storia amministrativa (Jamison) nella prima decade del ventesimo secolo. Successivamente, però, fino al secondo dopoguerra, itemi medievali vennero trattati in maniera piuttosto discontinua. Negli anni '50 l'attenzione si concentro sugli studi storici, mentre quelli archeologici iniziarono negli anni '60. Questi ultimi conobbero un intenso sviluppo in seguito alla ricognizione dell'Etruria meridionale (‘South Etruria Survey’) condotta dalla ‘British School at Rome’, concentratasi sul periodo romano ma che sollevo numerose questioni relative al periodo successive All'inizio degli anni '60, gli scavi di Santa Cornelia furono tra i primi scavi medievali in Italia. A meta del decennio, le ricerche di David Whitehouse sulla ceramica resero possibile per la prima volta datazioni accurate. Da queste premesse scaturirono tre decenni di lavoro intenso sull'archeologia medievale italiana, nel quale gli archeologici britannici, di solito legati alla ‘British School at Rome’, ebbero un ruolo importante. I decenni piu recenti hanno inoltre contributo allo sviluppo delle discipline storiche è storico-artistiche; John Osborne e stato particolarmente attivo nello sviluppo degli studi sulla cultura visiva altomedievale romana.

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Smith, Paul Julian. "Screenings." Film Quarterly 69, no. 1 (2015): 60–63. http://dx.doi.org/10.1525/fq.2015.69.1.60.

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Regular FQ columnist Paul Julian Smith looks back on the 40-year history o Mexico’s State Film School and interviews the main players and administrators who give their predictions for the future of the school. Smith discusses the CCC’s competitors, and the challenges that they face in keeping their institution relevant in the Mexican media market.

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Bishop, Karen Elizabeth. "The Architectural History of Disappearance." Journal of the Society of Architectural Historians 73, no. 4 (December 1, 2014): 556–78. http://dx.doi.org/10.1525/jsah.2014.73.4.556.

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The architectural history of the clandestine detention and torture center begins when a space selected for its invisibility becomes legible in a landscape. How that visibility is integrated into postdictatorship societies and accounted for historically often becomes a matter of public debate playing out in the press, in local and national calls for proposals for what to do with the sites, and in architectural competitions. In The Architectural History of Disappearance: Rebuilding Memory Sites in the Southern Cone, Karen Elizabeth Bishop argues that the proposals to reappropriate the spaces of disappearance reveal important temporal disjunctions that impede or facilitate the integration of the memory of the disappeared into civil society. Examples of the competing temporalities at work in the construction of memory sites and the productive incompleteness these can provide for are examined in an analysis of proposals put forth to rehabilitate two clandestine detention and torture centers that functioned during the last Argentine military dictatorship (1976–83) and Chile’s Pinochet dictatorship (1973–90): the space of the former Navy Mechanics School (ESMA) in Buenos Aires and the former prison camp Tejas Verdes on the coast of Chile.

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Bogdan Filip, Zerek. "The Warsaw school of paper conservation." Przegląd Biblioteczny 85, Special (October 5, 2017): 89–103. http://dx.doi.org/10.36702/pb.856.

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The paper presents the history and development of conservation of books, graphics and paper objects in Warsaw Poland, both in practical approach as well as in the process of teaching at the Academy of Fine Arts. The theoretical assumptions are followed by a review of chemical methods used today, but also abandoned ones. There were two turning points in the history of conservation in Warsaw: beginning co-operation with professional chemists at the Academy and developing the system of microbiological controls at the National Library. A short description of the most important conservation projects is included: Acid Paper and Energy Efficiency of Museums and Libraries.

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Vlassopoulos, Kostas. "Greek History." Greece and Rome 61, no. 2 (September 12, 2014): 272–77. http://dx.doi.org/10.1017/s0017383514000114.

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Two important recent books re-examine long-standing orthodoxies which have come under fire in recent decades. Julia Kindt challenges the orthodox model of Greek religion which has put thepolisas its central organizing principle, as manifested in the work of Christianne Sourvinou-Inwood and the Paris school. The book combines methodological and theoretical discussion with a series of case studies ranging from the Archaic period to the Second Sophistic. Kindt does not deny the value of thepolis-centred model for major aspects of Greek religious life; rather, her main disagreement is that it creates simplistic polarities and leaves aside or treats as exceptions many important aspects of Greek religion. While thepolismodel sees religion as embedded in the structures of thepolis, Kindt argues persuasively for the need to conceptualize Greek religion as a series of interrelated but distinct layers. She rightly stresses the autonomy of religion as a symbolic and figural system; and she emphasizes the significance of personal experience and agency and the ways in which practices such as magic illustrate the multiple links between personal experience and agency and the religious community of thepolis. Finally, of particular significance is her challenge to the standard polarity of local versus Panhellenic and the need to adopt a wider spectrum of layers and identities.

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Stamp, Gavin. "Charles Reilly and the Liverpool School of Architecture, 1904-1933." Journal of the Society of Architectural Historians 56, no. 3 (September 1997): 345–48. http://dx.doi.org/10.2307/991247.

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Holmes, Larry E. "Part of History: The Oral Record and Moscow’s Model School No. 25, 1931-1937." Slavic Review 56, no. 2 (1997): 279–306. http://dx.doi.org/10.2307/2500786.

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All’s quiet now. Summer vacation has started, the halls and classrooms are deserted. Almost. It is 10 July 1992 and I am inside Moscow’s School No. 175 with Vladimir Dmitrievich Nikolaev, a pupil here from 1933 to 1941. Once this was School No. 25, hallowed ground, from 1931 to 1937 the most famous school in the Soviet Union, where a talented teaching corps instructed the children of Stalin and other representatives of the Soviet elite. The winner of many awards, School No. 25 was the object of my research for several years. It's a bit unnerving to imagine the sounds and images of the people who worked and played in these very rooms sixty years ago. Nikolaev interrupts, then enhances the experience: “This was the library; the deputy director’s office was here; Svetlana, Stalin’s daughter, and I were in the same literature class there.”

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Krasnova, Marina. "Teaching History in High School as a Process of Educational Historical Cognition." ISTORIYA 13, no. 12-1 (122) (2022): 0. http://dx.doi.org/10.18254/s207987840023901-0.

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The article analyzes the issue of teaching history in high school on the basis of educational historical cognition as a condition for students to master the tools for independent learning of historical and contemporary social reality and the ability to use historical knowledge in everyday life. The author substantiates the possibility of including methodological knowledge in the content of historical education for high school students; presents the structure of cognitive activity of students, reflecting the logic and procedures of scientific cognition; it is noted that methodological knowledge can be included in the process of teaching history both through the content and structure of the teaching material, as well as through the activity component of teaching.

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Papastavrou, Elena, and Daphni Filiou. "On the beginnings of the Constantinopolitan School of embroidery." Zograf, no. 39 (2015): 161–76. http://dx.doi.org/10.2298/zog1539161p.

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This paper examines Greek-Orthodox ecclesiastical embroidery in Ottoman Constantinople after 1453 until the emergence of the Constantinopolitan School of embroidery. We are well informed about the artistic production that flourished between the last decades of the seventeenth century and midnineteenth century via preserved artifacts and inscriptions bearing the embroiderers? signature. Nevertheless, our knowledge of the production between the fall of Byzantium and the last decades of the seventeenth century is lacking. In this paper, our aim is to evaluate whether the Byzantine artistic tradition continued to live in the Greek Constantinopolitan production. The iconographical and technical analysis of different artifacts will give the answer to this question revealing at the same time the foundation basis of the embroidery of that School.

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Veselovska, Hanna, and Viktor Ruban. "Reconstructing the glorious past : Bronislava Nijinska's School of Movement." Theatralia, no. 2 (2022): 203–22. http://dx.doi.org/10.5817/ty2022-2-18.

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Hunt, John. "Sculpture, Dates and Patrons: Dating the Herefordshire School of Sculpture." Antiquaries Journal 84 (September 2004): 185–222. http://dx.doi.org/10.1017/s0003581500045832.

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The origins of the Herefordshire School of Sculpture have traditionally been associated with Shobdon Priory, although both Leominster Priory and Kilpeck Church have also been suggested. This paper proposes that the origins of the Herefordshire School should be sought elsewhere, most probably in Hereford Cathedral. Recent studies tend to date the activity of the Herefordshire School earlier than was previously supposed, but it is here argued that these principal monuments of the School are actually later in date than the revisions suggest and that the Herefordshire School of Sculpture was active for around thirty years, into the early 1160s. The importance of lay patronage is confirmed, but scope for the influence of churchmen in the promotion of the School is also proposed. Some of the schemes adopted may have served to convey messages intended to help the church protect itself and its possessions in the turbulent times of the Anarchy.

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Sánchez de Lollano Prieto, Joaquín, and Alicia Sánchez Ortiz. "The ceroplastic collection of the Royal Veterinary School in Madrid: a history waiting to be recovered." Journal of the History of Collections 31, no. 2 (October 13, 2018): 291–308. http://dx.doi.org/10.1093/jhc/fhy032.

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Abstract The principal aim of this article is to raise awareness of a collection whose singular nature endows it with enormous heritage value. It presents a historiographical and artistic analysis of the collection of wax models formed at the Royal Veterinary College in Madrid in the period from 1793 to 1863 and currently preserved in the Complutense Veterinary Museum. The data extracted from primary documentary sources, such as the records from the old school which have been preserved, have been verified using secondary bibliography, complemented by scientific observations on the sculptures in question. The results obtained have enabled us to reconstruct the history of the creation and functioning of the ‘Waxworks Laboratory’, to identify the manufacturers and the technical choices they made, to date each model, and to determine the reasons behind the loss of a significant number of them.

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Lapidge, Michael. "The school of Theodore and Hadrian." Anglo-Saxon England 15 (December 1986): 45–72. http://dx.doi.org/10.1017/s0263675100003689.

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In 669 Theodore, a Greek-speaking monk originally from Tarsus in Asia Minor, arrived in England to take up his duties as archbishop of Canterbury. He was joined the following year by his colleague Hadrian, a Latin-speaking African by origin and former abbot of a monastery in Campania (near Naples). One of their first tasks at Canterbury was the establishment of a school; and according to Bede (writing some sixty years later), they soon ‘attracted a crowd of students into whose minds they daily poured the streams of wholesome learning’. Bede goes on to report, as evidence of their teaching, that some of their students who survived to his own day were as fluent in Greek and Latin as in their native language. Elsewhere he names some of these students: Tobias (later bishop of Rochester), Albinus (Hadrian's successor as abbot in Canterbury), Oftfor (later bishop of Worcester) and John of Beverley. Bede does not mention Aldhelm in this connection; but we know from a letter addressed by Aldhelm to Hadrian that he too must be numbered among their students. Unfortunately Aldhelm is the only one of these Canterburyalumnito have left any writings, so we are in no position to appraise the high opinion which Bede had formed of their learning.

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Smith *, Leigh K. "The impact of early life history on teachers' beliefs: in‐school and out‐of‐school experiences as learners and knowers of science." Teachers and Teaching 11, no. 1 (February 2005): 5–36. http://dx.doi.org/10.1080/1354060042000337075.

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Parks, Susan, Diane Huot, Josiane Hamers, and France H.-Lemonnier. "“History of Theatre” Web sites: A brief history of the writing process in a high school ESL language arts class." Journal of Second Language Writing 14, no. 4 (December 2005): 233–58. http://dx.doi.org/10.1016/j.jslw.2005.10.003.

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Journal articles on the topic 'Rockhampton School of Arts History'

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