Dissertations / Theses on the topic 'School of Art History'
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1
Bergh, Amy. "TO THE AGES OF AGES: RECONCEPTUALIZING HIGH SCHOOL ART HISTORY CURRICULUM." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2434.
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Through this curriculum study, I explored the application of ideas found within contemporary art education to a course of traditional secondary art history. These contemporary art education ideas included: visual culture instruction, interdisciplinary instruction, contemporary art instruction, curriculum development, the use of enduring ideas, and the inclusion of a variety of perspectives based on gender and ethnicity. Through these art education ideas, a new curriculum was formed, that pushed both the students and the teacher toward a more inclusive art history course that made real connections for students and allowed students to be active members in their own learning. Instruction shifted away from lecture and became more dialogue and discussion oriented. Unit examples are included for Romanticism, Dadaism, and American Social Realism.
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Pitfield, Worsley Laura. "Art history in an infant primary school : an intervention in the curriculum." Thesis, University of Roehampton, 2011. https://pure.roehampton.ac.uk/portal/en/studentthesis/art-history-in-an-infant-primary-school(ff60bf64-c39c-4ff0-bbd2-4279f3e4c6da).html.
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This research set out to introduce art history in the art curriculum in an infant primary school in England. The intention was to broaden the curriculum to include interpreting art alongside making it. At the time the research began the National Art and Design Curriculum (2005) for Key Stage One included an art historical strand of learning known as Attainment Target Two (AT2) which included learning about art and artists from different times and cultures. Previous research indicated this strand of the art curriculum was overlooked by generalist classroom teachers for various reasons. A whole school action research project was undertaken lasting a full academic year. The participants were five teachers including the headteacher, three classroom teaching assistants, eighty four pupils, aged between four and seven years, and the researcher. The research tested out and evaluated a strategy for interpreting artworks. This was designed by the researcher and taught by the teachers in the classroom. The interpretive strategy for engaging and enquiring about art (known as the ISEE) included information about the art and artist in the final step of interpretation. The action research consisted of three cycles: i) preparation, planning and teacher training; ii) teachers implementing the ISEE and iii) teacher-designed lessons and research evaluation. Systematic reflection and evaluation of actions was carried out on two levels by the action team and the lead researcher and final reflective and thematic analyses were carried out by the latter in order to answer the research questions. The main finding was that the ISEE facilitated art interpretation in the classroom. Other significant findings were that i) interpreting paintings was inclusive of all pupils across the age groups and learning ability spectra; ii) the pupils’ affective response (Iser, 2006) often drove their cognition and this challenged the theory underpinning the research that art is interpreted through symbol references in meaning making; iii) when pupils used their imagination and affective response they were able to accommodate the factual information they were given about the paintings and artists; iv) despite struggling to include this information in their teaching at times, the teachers recognised that it added value to the art curriculum and the pupils expressed great interest in it and iv) the teachers preferred to combine art interpretation with other subjects such as literacy, citizenship and PSHE.
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Walker, Virginia. "The concept of a 'Newlyn school' : its context and history." Thesis, Birkbeck (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539900.
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The thesis explores the phenomenon of a `Newlyn school'; it contextualizes its origins in the later 1880s focussing on the artistic and cultural values associated with it and examines subsequent developments. The thesis looks at the settlement of artists in Newlyn in the 1880s, and the connections between developments there and the impact of the work of Bastien- Lepage as well as making links to the contemporary Nature Movement in England. It considers the painting of rural imagery `on the spot' and the concern to achieve `open-air effects'. The latter did not necessarily imply painting out of doors indeed it could include interiors. Artists working in Newlyn attracted patronage from philanthropic industrialists desirous of effecting beneficial influence on the urban poor. This appears to account for the early interest in Newlyn-based artists in Birmingham. It is argued that there was nothing unique about the interests of artists who settled in Newlyn nor any interest in developing a special `school' in the early 1880s. However, after the work of Frank Bramley and Stanhope Forbes began to interest critics in London matters changed. While Braniley's A Hopeless Dawn (RA 1888) stimulated the notion that there was something special about Newlyn art, it was the highly ambitious Forbes who , profited most from the concept. In the following decade he successfully promoted himself as the guiding light of Newlyn art. The thesis also considers how the promotion of a `Newlyn school' in 1889 coincided with the concerns at the Royal Academy to promote a national form of art to counter the threat of Whistlerian internationalism and other types of modernism. However, subsequent coverage was unenthusiastic and short-lived. The thesis concludes with exploring how Forbes subsequently mythologized Newlyn, identifying the `school' with his own artistic persona.
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Crawford, Jennifer Marie. "Edinburgh Art School." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/74870.
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Alban, Peris Wyn. "Fiorello H. LaGuardia High School of Music and Art and Performing Arts: a history." Thesis, Boston University, 2013. https://hdl.handle.net/2144/10926.
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Thesis (D.M.A.)--Boston UniversityThe Fiorello H. LaGuardia High School of Music and Art and Performing Arts in New York City was formed through a merger of two existing arts high schools in 1961-- the High School of Music and Art and School of Performing Arts. Although the High School of Music and Art's history has been well documented, no studies have documented the histories of the School of Performing Arts and the Fiorello H. LaGuardia High School of Music and Art and Performing Arts. Therefore, this concise history of the development of the Fiorello H. LaGuardia High School of Music and Arts and Performing Arts in New York City fills a gap in current historical literature. Research questions focused on (1) the founding of the two independent performing arts high schools and their amalgamation into the Fiorello H. LaGuardia High School of Music and Art and Performing Arts; (2) key personnel and their role in facilitating the merger; (3) the shaping forces of the philosophies/missions/visions of the two independent high schools on the Fiorello H. LaGuardia High School of Music and Art and the Performing Arts; (4) how the music curriculum of the High School of Music and Art and School of Performing Arts helped shape the music curriculum of the Fiorello H. LaGuardia High School of Music and Art and Performing Arts, and (5) students' musical activities throughout the school's history. Research methodologies included consulting primary and secondary sources and interviewing former and current administrators, students, alumni, friends, and other key personnel from each of the three schools. I discuss music education challenges with implications for music educators and administrators, as well as political leaders and members of communities at large engaged in providing education at similar mis high schools. From the schools' rich independent beginnings to their turbulent transitional years, where the amalgamation and relocation took nearly a quarter century to complete, the school remains a model for subsequent specialized arts high schools in the nation.
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Schuster, Paul David. "Archaeology Goes to School: A Cooperative Approach to Teaching History Through Archaeology." W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626036.
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Lawrence, Ranald Andrew Robert. "Cultural climates : the municipal art school and the reformulation of civic identity in Victorian Britain." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709252.
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Fleming, Margaret Jean 1954. "DISCIPLINE-BASED ART EDUCATION AS AN ALTERNATE APPROACH TO THE PROBLEMS ASSOCIATED WITH LEARNING ART HISTORY AT THE HIGH SCHOOL LEVEL." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/276432.
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The definition of discipline-based art education presented in this thesis includes all domains of art learning and practice: art history, art criticism, art production, and aesthetics. The study develops a series of art history lessons for adolescents at the junior high and high school level. Activities are designed to present instructional strategies appropriate to the educational needs and concerns of these groups of students. These lessons primarily focus on art history, and art criticism as a means for approaching studio production concepts. One instructional unit includes a day-by-day description of art history learning activities covering a period of 10 days, or two regular school weeks. Also included is a description of the order in which the art history, art criticism and production activities occur for each lesson. Specifics regarding media, materials, artists to be studied, styles, reproductions and the vocabulary terms and images to be used for each day are also included. (Abstract shortened with permission of author.)
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Bushnell, Taissa. "Thronis meis binis : validation through history in the court art of Charles IV." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31093.
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Bohemian art of the second half of the fourteenth century is closely associated with the personality of Charles IV, Emperor of the Romans and King of Bohemia (1316--1378). In an effort to legitimize his reign as ruler of the Holy Roman Empire and to raise the profile of his ancestral Bohemian lands, he leaned on the power of history to reveal his heritage as stemming, on one side, from an illustrious line of emperors including Charlemagne, and on the other, from the dynasty of Bohemian sovereigns. He recognized that art could display this legitimization and so implemented a programme of historicism in his artistic commissions. His impact on Bohemian art was indirect as well: his ideas influenced the art patronage of his closest court advisers, as seen in this paper through the examples of two illuminated manuscripts, the Evangeliary of John of Opava and the Liber viaticus.
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Measell, James Scott. "A provincial school of art and local industry : the Stourbridge School of Art and its relations with the glass industry of the Stourbridge district, 1850-1905." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/7008/.
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Founded in 1851, the Stourbridge School of Art offered instruction in drawing, art and design to students engaged in industries, especially glass. Using social history methodology and primary sources such as Government reports, local newspapers and school records, this thesis explores the school’s development from 1850 to 1905 and explicates its relationships with the local glass industry. Within the context of political, economic, social and cultural forces, the school contributed to the town’s civic culture and was supported by gentry, clergy and industrialists. The governing Council held public meetings and art exhibitions and dealt with management issues. Working class men attended evening classes. Women from wealthy families attended morning classes. This thesis argues that a fundamental disconnect existed between the school’s purpose (art instruction to train designers) and its instruction (basic drawing and fine art). The school enrolled men employed in glass decorating but few from glass manufacturing. Classes reflected the South Kensington curriculum, and the art masters were unaware of the design needs of industry. Glass manufacturing firms provided modest financial support but did not encourage employees to attend, creating frustration for the Council. In contrast, similar schools in Brierley Hill and Wordsley were well-supported by the glass industry.
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Gore, Elaine Clift. "Houston's High School for the Performing and Visual Arts : a history of the first 25 years, 1971-1997 /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Escott, Anthony James. "Alan Cuthbert : colour theory and practice [1957 -79] English art school change in the early 1960s." Thesis, Kingston University, 2005. http://eprints.kingston.ac.uk/20219/.
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The core of this research are the paintings and cultural context of Alan Cuthbert, a hitherto un-researched figure who trained in the English art school of the late 1950s under the Constructionists Kenneth and Mary Martin and subsequently became the Head of the Foundation course at Wimbledon School of Art from 1963-1979. Cuthbert produced a substantial body of over a hundred geometric abstract paintings, lecture papers and writing and played a significant role in training future generations of artists and designers from the 1960s onwards. This thesis proposes that Cuthbert is part of a broader tendency in British art schools and that practice and teaching is intimately connected to the reorganisation of the art schools and the introduction of the Foundation course in the early 196Ös. I put forward the argument that through a study of Cuthbert and the shifts in art schools one can map a much under-researched aspect of British art. This research encompasses the three fields of art history, art education and art practice and centres on an artist-lecturer, a subject of study largely ignored by the majority of art historical writing, which is dominated by the modernist model of monographs, movements/groupings, and periods. In placing the case study of an artist-lecturer in a critical and historical context, this study maps British art through organicism, Constructivism and the Bauhaus art school pedagogy and colour as they pertain to basic design and the changes in art school teaching between 1955 and 1979. Through this case study of a colourist and systems painter this thesis suggests a different, Continental orientation for British post-war geometric abstraction.
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Edis, Jonathan David. "The Totternhoe School of Masons, c.1567-c.1618 : a Midland stone-carving workshop producing funerary monuments in the Dutch style." Thesis, De Montfort University, 2000. http://hdl.handle.net/2086/5848.
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Pitchford, Anita. "Historic Sites in Texas: the Use of Local History in Texas Public Schools." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331623/.
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This research study examined the perceptions of school administrators and of historic site directors toward the function of the sites in the public school curriculum. In-depth, personal interviews were conducted, tape-recorded, and transcribed at six selected sites, representing the various ethnic historic settlements of Texas, a variety of population densities, each of the major physical geographic regions, and different economic levels in the state. Data analysis involved careful study of the taped interviews, comparisons of responses given by people of similar roles, and comparisons of responses regarding the same site. Documentation of elements of the historic sites, of programs offered, of participation of the local school district in programs, and of written school policies were examined. The perceptions of the interviewees along with recommendations for changes were noted. Responses varied from expressed impression of students who are steeped in local history and are bored with their heritage, to enthusiastic positive opinions that the prosperity of the community is directly related to the strong identification of the citizens with its local history. The role of local history and of specific sites in the curriculum of the public schools is not consistent in Texas. This research study suggests that positive gains are possible if communication between local historic site/park/museum personnel and professional educators who are responsible for planning and implementation of school curriculum can be improved. Professional educators tend either to value local history and historic sites as part of the curriculum, or to avoid the question of meeting state mandates for classtime through the use of off-campus visits to historic sites by interpreting recent reforms to prohibit them. Professional personnel who oversee the historic sites tend to offer programs to the public schools that will meet the mandated curriculum, while adhering to the scheduling constraints of school reform legislation.
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Dirickson, Perry. "School Spirit or School Hate: The Confederate Battle Flag, Texas High Schools, and Memory, 1953-2002." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5467/.
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The debate over the display of the Confederate battle flag in public places throughout the South focus on the flag's display by state governments such South Carolina and Mississippi. The state of Texas is rarely placed in this debate, and neither has the debate adequately explore the role of high schools' use of Confederate symbols. Schools represent the community and serve as a symbol of its values. A school represented by Confederate symbols can communicate a message of intolerance to a rival community or opposing school during sports contests. Within the community, conflict arose when an opposition group to the symbols formed and asked for the symbols' removal in favor of symbols that were seen more acceptable by outside observers. Many times, an outside party needed to step in to resolve the conflict. In Texas, the conflict between those in favor and those oppose centered on the Confederate battle flag, and the memory each side associated with the flag. Anglos saw the flag as their school spirit. African Americans saw hatred.
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Wang, Yang. "Regionalizing National Art in Maoist China: The Chang’an School of Ink Painting, 1942–1976." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429839382.
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Larkou, Fotini A. "Can I use Mary Erickson's approach to improve my teaching of art history in a Cypriot primary school classroom?" Thesis, University of Roehampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529598.
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CARDASSILARIS, NICOLE RUTH. "Bringing Cultures Together: Elma Pratt, Her International School of Art, and Her Collection of International Folk Art at the Miami University Art Museum." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204738152.
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Evans, Lin Jiang. "A history of art education in the elementary and middle schools of The People's Republic of China 1949-1989 : political currents and influences in visual-arts education." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1232543619.
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Zelonish, Holly Anne. "The Effects of Assessment and Grading on Students' Attitudes Towards and Participation in the Visual Arts." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1302134904.
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Herr, Kerry Ellen. "Integrating the fine arts into a niddle school classroom." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1705.
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Jewison, Deborah. "Policy and practice : design education in England from 1837-1992, with particular reference to furniture courses at Birmingham, Leicester and the Royal College of Art." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11390.
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This thesis is an examination of policy-making and practice in design education in England from 1837-1992. It takes a longue durée approach to the history of the development of design education to provide a new narrative which shows a pattern of recurring debates concerning the purpose of design education and how it should be taught. Using the curricula of furniture design courses at three art schools to illustrate the way policy was put into practice, this thesis argues that historical context is key to understanding why debates regarding the way designers should be trained for industry have recurred since 1837. Based on a wide variety of primary source material the thesis contributes to historiography by extending the scope of previous histories of art and design education, and also, for the first time, focuses solely on the development of design education, whilst acknowledging its place in the wider development of art and design education. Following the introduction, chapter two of this thesis examines the events which led to the 1835-6 Select Committee and argues that many of the issues raised during the Committee influenced the teaching of design education through the remainder of the nineteenth century; this is further demonstrated through chapter three. Charting the development of design education into the twentieth century through chapters four, five and six, this thesis shows that changing historical contexts, such as the development of industrial methods or wider changes in higher education, have also had an impact on design education. In the light of changing historical contexts, policy makers for design education have continually questioned what design students should be taught and how they should be taught, which accounts, in part, for the recurring nature of debates in design education.
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Johnston, Glenn T. "Teenager's doing history out-of-school: An intrinsic case study of situated learning in history." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6090/.
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This intrinsic case study documents a community-based history expedition implemented as a project-based, voluntary, out-of-school history activity. The expedition's development was informed by the National Education Association's concept of the intensive study of history, its structure by the history seminary, and its spirit by Webb's account of seminar as history expedition. Specific study objectives included documentation of the planning, implementation, operation, and outcomes of the expedition, as well as the viability of the history expedition as a vehicle for engaging teenagers in the practice of history. Finally, the study examined whether a history expedition might serve as a curriculum of identity. Constructivist philosophy and situated learning theory grounded the analysis and interpretation of the study. Undertaken in North Central Texas, the study followed the experiences of six teenagers engaged as historians who were given one year to research and write a historical monograph. The monograph concerned the last horse cavalry regiment deployed overseas as a mounted combat unit by the U.S. Army during World War II. The study yielded qualitative data in the form of researcher observations, participant interviews, artifacts of participant writing, and participant speeches. In addition, the study includes evaluations of the historical monograph by subject matter experts. The data indicate that participants and audience describe the history expedition as a highly motivational experience which empowered participants to think critically, write historically, and create an original product valuable to the regiment's veterans, the veterans' families, the State of Texas, and military historians. The study supports the contention of the National Education Association that the intensive study of history can be beneficial both to expedition participants and to their community. The assertion that engaging teenagers as researchers within a discipline serves as a curriculum of identity was supported in the study as well. The study underscored the importance of oral history as a gateway for learning about modern history.
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Cao, Maggie M. "Episodes at the End of Landscape: Hudson River School to American Modernism." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11535.
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This dissertation examines the dissolution of landscape painting as a major cultural project in the late nineteenth-century United States. As a genre aligned with the goals of nation building, landscape maintained a privileged artistic status for much of the nineteenth century. Yet as frontier development, land speculation, environmental change, and other factors slowly rendered its conventions meaningless, landscape became the site through which American artists most urgently sought to come to terms with the modern world. This argument is anchored by unorthodox artworks, from landscapes resembling banknotes to paintings made out of bird feathers—limit cases that allude to the failure of landscape in sustaining American cultural goals. Chapter One concerns Albert Bierstadt's aesthetic struggles in post-frontier America. During the 1890s, Bierstadt's anxieties about landscape surfaced in the particularities of objects that fold and unfold, from butterflies painted by chance to expanding railway cars—objects that might be considered the subconscious of a genre built upon expansionist ideology. Chapter Two argues that Martin Johnson Heade's tropical and marsh paintings of the 1870s and 1880s used “groundless” conditions to express cultural insecurities about traversable land and its representation. The pictorial blockages and interferences in Heade's paintings challenge both the compositional legibility espoused in the blockbuster canvases of his mentor and rival Frederic Church and the physical accessibility promised by the period's environmental interventions. Chapter Three proposes that Ralph Blakelock's nocturnes and money paintings—produced in the context of rampant land speculation, volatile art markets, and representational doubts surrounding paper currency—attempt but fail to overcome landscape's monetary entanglements. Blakelock's paintings theorize the value of labor and material accumulation in the increasingly abstract economic world of the last decades of the nineteenth century. Chapter Four reconsiders the trope of the "figure in the landscape" using Abbott Thayer's turn-of-the-century representations of animal camouflage. In these mixed-media artworks, Thayer's attempts to visualize invisibility demonstrate the ways in which camouflage proved irreconcilable with landscape's figure-ground principles. Together, these episodes trace pictorial attempts to resolve spatial problems arising with modernity, and in so doing, they signal a shift toward new paradigms of representation.History of Art and Architecture
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Eklund, Chica. "The Art Subject in Thailand : A study about the role of the art subject in some schools in Thailand." Thesis, Växjö University, School of Education, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1463.
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Historically the art subject has never had a main role in the school education.
The main subjects in Sweden have been mathematics, Swedish and English, even if the other
subjects also have been important. Unfortunately the subject of art has been considered less
important. For a long time the art subject has been a subject that only teaches the students how to
paint in different ways, but lately it has been noticed that the art subject has more qualities, for
example concerning personal expressions. Now we can confirm that the art subject does have an
important role in the school world, but how big a role?
With the help from interviews and literature studies, this essay wants to show if this ideology
and knowledge already has been used in other countries, in this case Thailand. Through my
interviews and examinations I could confirm that the responders consider the art subject important
for the students’ creative thoughts and personal development. The question is: is this only an
opinion or is it something that has already been used? My practise in the Thai schools has therefore
been useful for me in this essay, since I could closely study the art subject, and see everything with
my own eyes.
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Miller, Shelby E. ""The Cult of Cézanne:" Marcel Duchamp, Clyfford Still, and Banksy." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149471175808765.
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Calhoun, Robert D. "Dynamism, Creativeness, and Evolutionary Progress in the work of Alexander Archipenko." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460755467.
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Rowbottom, Andrea. "The fine art of advertising and education, how is a deaf secondary school student's interpretation and understanding of the works of the masters, in advertising a reflection of his/her art history experience?"." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ28157.pdf.
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Garner, Linda F. (Linda Faye). "The History of the Baylor University School of Nursing, 1909-1950." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330639/.
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This study traces the development of the Baylor University School of Nursing from its beginning in 1909 through the establishment of the baccalaureate nursing program in 1950. Primary data including official records of the School of Nursing, minutes of the Baylor University Board of Trustees, reports of the School of Nursing to accrediting agencies, and interviews of former students and deans were examined using the historical research techniques of external and internal criticism. A review of the literature that is relevant to the development of nursing education is presented in Chapter II. Chapter III presents the events in the development of the Baylor University School of Nursing. Chapter IV discusses the accreditation criteria which influenced the development of the School of Nursing. Chapter V discusses the curriculum, teaching methods, and faculty qualifications. Chapter VI discusses the people who were the most influential in the development of the School of Nursing. Implications of the study include the recognition that nursing education and nursing service have differing priorities. Conflicts between the needs of patients for care and the needs of students for education arose when the Superintendent of Nurses was responsible for both areas. Usually the needs of patients for care took priority over the needs of students resulting in long hours and less than optimum learning conditions for students. External factors played a major role in the development of nursing education by determining the needs of society for nurses and thus for nursing education. Accreditation criteria established by state and national agencies determined the standards by which the School of Nursing was judged. National accreditation had more impact on the School since higher standards were required. The leadership of the School played a significant role in the development of the professional nursing program. Leaders who had educational preparation and vision for the future of nursing education with an educational institution rather than a service institution worked to establish an improved educational system in nursing.
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GALVAO, MARIA CRISTINA DA SILVA. "WE ARE HISTORY S EDUCATION: INSTITUCIONAL IDENTITY AND SCHOOL EXCELLENCE IN COLÉGIO PEDRO II." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=15118@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORPROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Esta pesquisa situa-se no centro das indagações sobre os objetivos da educação institucionalizada e sobre o cumprimento, por parte da escola, daquilo que oficialmente ela promete – a democratização do conhecimento escolar. Foram investigadas as condições de produção do ensino considerado de qualidade em nosso sistema escolar público, através do estudo de caso da Unidade Humaitá II, que integra a rede de 13 Unidades Escolares do Colégio Pedro II, instituição considerada um marco na educação brasileira porque sua história se origina na própria história social, política e cultural do país, sendo uma escola percebida como lócus de produção de elites escolares na perspectiva do imaginário social. Para investigar a identidade institucional dessa escola pública de prestígio, assumiu-se a hipótese de que o rendimento dos alunos é diretamente influenciado pelo clima do estabelecimento, recorrendo-se a aspectos atribuídos ao clima escolar e que foram destacados como fatores que outorgam diferenciação de qualidade às escolas. A noção de clima se mostra como um fator primordial para o estudo da identidade dos estabelecimentos de ensino. Concebidas como organizações sociais, as escolas distinguem-se entre si, com seus modos próprios de funcionamento e seus sistemas sociais de relações. O trabalho de campo foi realizado ao longo de 2007 e 2008 e os dados foram coletados através dos seguintes procedimentos: observação nos espaços coletivos, observação em salas de aula, entrevistas semi-estruturadas (formais e informais) com professores, alunos e funcionários e pesquisa em documentos. Para operacionalização do conceito de clima escolar e análise das investigações, foram tomados como referência teórico metodológica os autores Antonio Nóvoa, Leila Mafra, Luc Brunet, Olivier Cousin, Pascal Bressoux , Teixeira Lopes e Manuel Jacinto Sarmento. A partir da análise do material empírico foi possível identificar, no contexto institucional da escola investigada, a configuração singular do conjunto de características que constituem sua imagem de excelência. O sentimento de pertencimento e a identificação dos integrantes da escola com o universo identitário do Colégio Pedro II, a diversidade na origem social dos estudantes, bem como a formação e o comprometimento dos docentes são as singularidades institucionais que distinguem a Unidade Escolar Humaitá II, possibilitando à maior escola pública brasileira fornecer um bom atendimento de Ensinos Fundamental e Médio e ser detentora de desfechos escolares socialmente valorizados.
This study is inserted in current investigations about the goals of formal education and about the fulfillment of the promise schools make: social rise to all students. Focusing on our public school system, we investigated the conditions under which quality teaching is produced. This investigation consisted of a case study referring to Humaitá II, one of the thirteen branches of Colégio Pedro II, a teaching institution which is considered a landmark in Brazilian education, as the history of this school is closely related to the very history of the country, in social, political and cultural terms. Also, this school is seen by Brazilian population as a producer of social elites. We started with the hypothesis that students` proficiency is directly influenced by the atmosphere surrounding the school they attend. We focused on some of the aspects related to this atmosphere – the ones that were highlighted as capable of making a difference in terms of quality teaching. The notion of school atmosphere appears as a crucial factor to the study of school identity. As a social organization, each school has its own way of operating and its own social relation system. The field work was conducted in the years of 2007 and 2008 and data was collected in the following ways: observation of classrooms and other collective spaces, documental research and semi-structured interviews, both formal and informal, with teachers, students and other school workers. In order to use the concept of school atmosphere properly and analyze the data, we took the works of Antonio Nóvoa, Leila Mafra, Luc Brunet, Olivier Cousin, Pascal Bressoux, Teixeira Lopes and Manuel Jacinto Sarmento our theoretical and methodological reference. Through the analysis of the empirical data it was possible to identify the singular configuration that the Humaitá branch has, that is, the set of characteristics that account for its public image of excellence. These characteristics are: the identification of the members of the school with the identitary universe of Colégio Pedro II, the feeling of belonging to this universe, the variety of social origins of its students and the qualification and commitment of its teachers. All of these constitute the institutional singularity of the Humaitá branch and make it possible for Colégio Pedro II, the biggest Brazilian public school of elementary and secondary levels, to provide quality teaching and socially valued school results.
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Panbehchi, Michael J. "The Triumphs of Alexander Farnese: A Contextual Analysis of the Series of Paintings in Santiago, Chile." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3628.
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This dissertation examines a series of nine paintings depicting the battles of Alexander Farnese in Flanders created by the Cuzco School of Painters in eighteenth-century Peru. This research asks why and how paintings depicting sixteenth-century European battles were meaningful in the eighteenth century. Due to an absence of archival documentation on the authorship, production and patronage of the series, the research method is contextual. Starting with a formal and iconographic analysis of the paintings centered on a comparison between the paintings and the engravings upon which they are based, differences in the use of space and the conspicuousness of individual elements representing opposing forces are studied. These issues are then regarded contextually by way of an examination of the visual characteristics of the Cuzco School, the history behind the creation of the original engravings and the political and social circumstances extant at the time of the creation of the paintings.
Building on previous scholarship, this research shows that attribution to the Cuzco School of painters is likely correct given the formal qualities of the paintings. It is possible that the stylistic characteristics of the Cuzco School, which became very popular, served as a marker of place within the Empire in colonial America.
One of the main contributions of the dissertation is the identification of a seventeenth-century biography of Alexander Farnese, De Bello Bélgico as the book in which the engravings that served as the sources for the paintings were published. These engravings served as the basis for all of the depictions of Alexander in colonial Latin America. Finally, the paintings were created during the reign of the first Bourbon king of Spain and served to foster a sense of continuity at a time of transition. The series would have been meaningful in eighteenth- century Chile due to its militarization, which continued throughout the colonial period. The use of space and the clarity with which opposing forces are depicted in the paintings left no moral, military or political ambiguities regarding the mission of the greater Spanish Empire.
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Harmon, Larry G. "The Effects of an Inquiry-based American History Program on the Achievement of Middle School and High School Students." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5273/.
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Implicit in the call for educational reform in the teaching of social studies has been the suggestion that pursuing inquiry-based principles will lead to improvement in student achievement. The purpose of this study was to compare the effectiveness of two types of pedagogy: traditional and inquiry-based upon student achievement as measured by a standards-based, state administered examination. Second, this study examined the relationship between the treatment teachers' level of implementation and student achievement. A nonequivalent control group posttest and experimental design was used in this study. Subjects involved in this study include 84 secondary American history teachers and their respective students from a large urban public school district in Texas. The sample consisted of two groups, one taught by traditional/didactic instruction (n=48) and the other taught by inquiry-based pedagogy (n=36). Data for this study were collected using a classroom observation protocol based upon the level of use rubric developed by the concerns-based adoption model. An analysis of variance (ANOVA) (p<.05) was used to measure the effects of inquiry-based instruction and traditional pedagogy on student achievement. Student achievement results were measured by the Texas Assessment of Knowledge and Skills (TAKS) for American history, grades 8 and 11. The study found that mean scores of the Grade 8 History Alive! group were significantly higher than the scores of the control group, but not for the Grade 11 History Alive! group. However, a comparison of mean scores by teachers' level-of-use suggested that the more faithful the teacher in designing standards-based lessons and delivering them through inquiry, the greater retention of American history student's knowledge about the subject.
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Parker, Pauline Frances, and paulinefparker@gmail com. "Girls, Empowerment and Education: a History of the Mac. Robertson Girls' High School 1905-2005." RMIT University. Global Studies, Social Science and Planning, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080516.164340.
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Despite the considerable significance of publicly funded education in the making of Australian society, state school histories are few in number. In comparison, most corporate and private schools have cemented their sense of community and tradition through full-length publications. This history attempts to redress this imbalance. It is an important social history because this school, Mac.Robertson Girls' High School can trace its origins back to 1905, to the very beginnings of state secondary education when the Melbourne Continuation School (MCS), later Melbourne High School (MHS) and Melbourne Girls' high School (MGHS) was established. Since it is now recognised that there are substantial state, regional and other differences between schools and their local communities, studies of individual schools are needed to underpin more general overviews of particular issues. This history, then, has wider significance: it traces strands of the development of girls' education in Victoria, thus examining the significance and dynamics of single-sex schooling, the education of girls more generally, and, importantly, girls' own experiences (and memories of experiences) of secondary schooling, as well as the meaning they made of those experiences. 'Girls, Education and Empowerment: A History of The Mac.Robertson Girls' High School 1905-2005', departs from traditional models of school history writing that tend to focus on the decision-makers and bureaucrats in education as well as documenting the most 'successful' former students who have made their mark in the world. Drawing on numerous narrative sources and documentary evidence, this history is organised thematically to contextualise and examine what is was like, and meant, to be a girl at this school (Melbourne Continuation School 1905-12; Melbourne High School 1912-27; Melbourne Girls' High School 1927-34, and Mac.Robertson Girls' High School from 1934) during a century of immense social, economic, political and educational change.
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Figueiredo, da Silva Melo Jose Manuel. "An historical study of the impact of political power and ideology on art education in Portuguese elementary and secondary schools from 1761 to 1974." Thesis, University of the West of England, Bristol, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244292.
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This research, based mainly on the analysis of primary sources, sets out to investigate and explain relationships between political power and ideology, and art education in Portuguese elementary and secondary schools, in their historical context. The following key turning points have been identified: 1895: Moniz' secondary education reforms substituted 'fine art' principles for existing utilitarian principles based on the' values of an industrial society, in the drawing syllabus; 1918: during the Republican period, observational drawing began to replace the copying of pictures in elementary schools; 1947: 'expressive' activities were first included in the syllabus; 1970: the first edition of 'Caderno do Professor' was published. An analysis of the evidence reveals that there were times in Portuguese history when the impact of political power influenced the changes in the teaching of drawing/art, notably during the industrial revolution and later, in the twentieth century, under Salazar's rule. Influences ora socio-economic nature and of educational theory had a greater impact on the content and direction of the art curriculum than those of an openly and explicit political or ideological nature, although it is not intended to suggest that such socio-economic and theoretical influences can be regarded as non-ideological. During the nineteenth century socio-economic influences were evident when the acquisition of drawing skills was considered important to enable citizens to implement the new social reality of the industrial revolution. Influences of a political or ideological nature were openly visible only from 1926 to 1974, when Portugal was ruled by Salazar and his followers. F or elementary schools, it is impossible to suggest a rationale which underpins the teaching of drawing/art before 1919, in view of the scarcity of data and because of the inadequate educational provision at this level. During the Republican period (1910-1926), ideological influences from the regime led to the development of a rationale based on 'aesthetic education'. Impact on public schools proved to be minimal; only outside the mainstream of public education, is there discernible evidence of innovative teaching. From 1926 to 1974, overt political influences reduced elementary school activities to the 'three R's', with the consequent near exclusion of drawing/art teaching at this level. However, between 1928 and 1937, a rationale based on nationalist values influenced what little art education there was. For secondary schools, only after 1836 can it be said that the teaching of drawing was afforded a permanent place; it has been impossible to identify a clearrationale for the period prior to that. Between 1836 and 1895, the rationale was inspired by vocational objectives: the need to train a skilled workforce. Between 1895 and 1926, there were few significant changes in the rationale, despite the prevailing ideological influences of the Republican rulers. The curriculum remained largely concerned with meeting the industry'S need; geometric drawing, useful in industrial design contexts, therefore predominated. Between 1926 and 1947, under the early years of the dictatorship, the influence of ideology on the rationale for art education in the secondary school was evident in the espousal of nationalist values, but this emphasis gradually decreased. There is evidence of some interference in the school drawing curriculum, but otherwise political intervention was largely concentrated on the Mocidade Portuguesa, the Portuguese Youth Movement, where artistic themes were chosen for their nationalistic flavour. Current research into developmental psychology was applied to the study of children's drawing development and these ideas slowly began to impact on the rationale adopted by teachers of drawing/art. From 1947 to 1970, such ideas had increasing influence on the curriculum, now more appropriately described as 'art education', in that it valued 'free expression' and took more account of prevalent theories of child development. This was despite the Portuguese Youth Movement continuing to promote the production of artwork / art products based aroun~ nationalistic themes in its classes.
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Haigh, Colleen, and n/a. "A history of the School Library Association in Canberra and District : the first decade 1971-1981." University of Canberra. Communication, 1988. http://erl.canberra.edu.au./public/adt-AUC20060714.120926.
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This study traces many of the highlights which occurred during the first decade of the
history of the School Library Association in Canberra and District (SLACAD). The
roots of this association lie deep in the history of school libraries and teacherlibrarianship
in Australia. Many SLACAD members belonged to other state school
library associations and to the Australian School Library Association (ASLA)
confederation since the establishment of these associations in the 1960's. These
teacher-librarians have been dedicated in their attempts to further the cause of school
libraries and their teacher-librarianship profession. The decade covered by this study
embraces the greatest period of expansion in the development of school libraries seen in
Australian history. During this decade the A.C.T. established an independent education
system and it took many years for the A.C.T. Schools Authority administration to
finalise its organisation. SLACAD members were anxious that school libraries in the
A.C.T. should keep pace with school libraries in other Australian states and this study
documents the constant efforts of its members to obtain improvements in school
librarianship. Teacher-librarians in the A.C.T. have continued to maintain a close
liaison with ASLA and many A.C.T. teacher-librarians have held executive office in
ASLA. SLACAD has hosted seminars and conferences and this study documents
numerous submissions and reports which were a necessary feature of the expanding
A.C.T. school library association milieu.
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Ailey, Gabriele Elisabeth. "Understanding images : a study of the use of materials designed to include the teaching of art history and art criticism together with related studio exploration in B.C. secondary schools." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28570.
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This study examines the use of locally relevant curricular materials Understanding Images: Bill Reid and Understanding Images: Gathie Falk by three art teachers. The materials were developed by the researcher and modelled on the concept of discipline-based art education. The major purpose of this investigation was to determine if relevant instructional support material which addresses the historical and critical domains together with studio production were developed and made available would visual art teachers be inclined to offer a more balanced program and one which parallels the prescribed curriculum for junior and secondary art education in British Columbia. Secondary interests of this investigation were to determine if an understanding of the integration of the historical, critical and production domains was reflected in 1) the quality of dialogue between the teacher and the student, 2) the quality of talk among students and 3) the student art work.
The descriptive, qualitative study followed the in-class activities of three art teachers in three junior secondary schools. The major instrument was the researcher who, in the role of non-participant observer, collected field notes. Further data were collected by questionnaires, sample interviews, random conversation with students, samples of student art work and photographs of classroom activity.
The framework for the study was based on Eisner's (1979) model of educational criticism in which he identified three major aspects: the descriptive, the interpretive, and the evaluative aspect. (p. 211)
As a result of the findings, strengths and limitations of the instructional materials were identified and implications for development and implementation of similar instructional materials for visual art education were made.Education, Faculty of
Graduate
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Kim, Sangah. "Western-style Painting in Pan-Asian Context: The Art and Historical Legacies of Kuroda Seiki, Li Shutong, and Go Hui-dong, 1889-1916." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20672.
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From the late nineteenth century, works inspired by Western art spread to China and Korea through Japan. Thus, Western art came to be accepted in China and Korea as a reinterpretation of Japan’s development of Western art, rather than a direct transmission from Western sources. This act of reinterpretation went on to have a lasting effect on the practice of Western-style painters in East Asia with their own acceptance modes. This thesis provides a study of self-portraits and nude paintings, two categories of painting without precedent in East Asia prior to the late nineteenth century, created by Kuroda Seiki, Li Shutong, Go Hui-dong, and Kim Gwan-ho in order to illustrate how East Asian countries established their own versions of modern art.
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Banacki, Amanda C. "Spiritual seascapes : finding God in the waters of John Frederick Kensett." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1237.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Art History
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McTurner, Bobbie. "An Analysis of Hani Motoko’s Hall for Tomorrow (1921): A Frank Lloyd Wright Design." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148152737.
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Morais, Fabíola Arantes de. "Lugares do desenho na história sintomal da Escola de Artes e Arquitetura (UCG), transformações disciplinares e institucionais e a arte como recalque." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/8308.
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The thesis presented here defends the existence of a Visual Art course in the subsoil of the School of Arts and Architecture and explores the idea of a repression of this content, which returns to the surface in the form of symptoms. The structure in notebooks seeks to solve the singularities of from each approach of this phenomenon. This research stitches memories that oat within a the School of Art and Architecture of Pontifícia Universidade Católica de Goiás. It gives special attention to the fragments relative to the practice of drawing in itself and the factors that surround it. Freud, Rüssen, Didi Huberman and Ricouer bless and get along in these chapters that describe the Arts and Architecture School of UCG (Escola de Artes e Arquitetura da UCG): Freud, opening the rst notebook, inspires every remark in the text that show how psique, inevitable path to the historic content, changes it. Lacan grounds the drawing of a map named the Interpretation of the Freudian psychic system, while Rüssen orients the conceptualization of the sources. In the second notebook, Didi Huberman brings to the text the idea of collage as an instrument of an assembly that carries meaning within itself. This concept was used both to organize the complexity that lies around the beings drawing, architecture, teaching methodology, arts and artists, and also strongly inspired the assembly of this very thesis, organized in notebooks, built by blocks of text that keep between them the gaps of collage. Still on notebook 2, the text makes an exercise with Paul Ricoeur, countering the relativization of any past with the statement that it only exists through the mediation of the present, with a positivist stream of historiographical praxis, both in classes previous to graduation, as in graduation courses, such as Architecture and Urbanism. In the third notebook, this problematization, applied to the very school’s contingencies, is better felt, through the exposing of documents: images with syllabi, programs, drawings and illustrations. In notebook IV, the bid is of a discourse in images, which not only illustrate the propositions in other notebooks, but also propose a visual narrative of free collage. To achieve this e ect we made two versions, one online and one printed. In the rst, the diagramming takes care that the images and phrases have white space of reverberation around each other. In the printed version, we use detached blades so that the reader can examine them separately. Furthermore, the images speak for itself. Literally.
A tese aqui apresentada, defende a existência de um curso de Artes Visuais no subsolo da Escola de Artes e Arquitetura, e explora a ideia de ter havido uma operação de recalque desse conteúdo, que retorna `a superfície em forma de sintomas. A estruturação em cadernos busca solucionar a singularidades de cada aproximação desse fenômeno. Essa pesquisa costura retalhos das memórias que utuam dentro da Escola de Artes e Arquitetura da PUC Goiás. Dá atenção especial aos fragmentos relacionados `a prática de desenho em si e os fatores que a envolvem. Apoia-se numa constelação de autores para construir um pensamento teórico em forma de cadernos que aponta para a historiogra a como o corte possível dado sobre o que de fato é a vida, um uxo de impermanências. Freud, Rüssen, Didi Huberman e Ricouer apadrinham e convivem em capítulos que apresentam a Escola de Artes e Arquitetura da UCG: Freud abrindo o primeiro caderno, inspira todas as pontuações do texto que mostram como a psiquê, caminho inevitável do conteúdo histórico, o altera. Lacan fundamenta o desenho de um mapa denominado a Interpretação do Sistema Psíquico Freudiano enquanto Rüssen orienta na conceituação das fontes. No segundo caderno, Didi Huberman leva ao texto a ideia de colagem como instrumento de uma montagem que porta signi cado em si. Esse conceito foi usado tanto para organizar a complexidade que há em torno dos entes desenho, escola, arquitetura, metodologias de ensino, arte e artistas, quanto inspirou fortemente a montagem da própria tese, organizada em cadernos, compostos de blocos de texto que mantém entre si as lacunas típicas da collage. Ainda no caderno 2, o texto faz um exercício com Paul Ricoeur contrapondo a relativização de qualquer passado pela a rmação de que esse só existe através da mediação do presente, com uma prática historiográ ca positivadora corrente, tanto nas aulas anteriores a uma graduação, quanto dentro dos cursos de graduação como arquitetura e urbanismo. No terceiro caderno sentimos melhor essa problematização aplicada `as próprias contingências da Escola através da exposição dos documentos: imagens com ementas, programas, desenhos e ilustrações. No caderno IV, a proposta é de um discurso em imagens, que não só ilustram as proposições presentes nos outros cadernos quanto também propõem uma narrativa visual de montagem aberta. Para alcançar esse efeito zemos duas versões, uma on line e outra impressa. Na primeira, a diagramação cuida para que as imagens e frases tenham espaço branco de reverberação em torno de si. Na versão impressa, utilizamos lâminas desprendidas para que o leitor possa examiná-las separadamente. Ademais, as imagens falam por si. Literalmente.
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Abbe, Gabrielle. "Le Service des arts cambodgiens mis en place par George Groslier : genèse, histoire et postérité (1917-1945)." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H002.
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Lorsqu'en 1917 le peintre George Groslier (1887·1945) répond au souhait des autorités coloniales de créer à Phnom Penh une école d'art, il propose un vaste programme de«rénovation des arts cambodgiens». S'il définit ceux-ci comme étant «universels», pratiqués par tous, du paysan à l'artiste du Palais, les arts qu'il entend « rénover» sont pourtant ceux qui de tout temps, ont été l'apanage du Palais. Le «Service des arts cambodgiens» qu'il dirige dès 1919 conserve, reformule et exalte un art d’origine palatiale qu'aucune disposition idéologique ne le destinait à promouvoir. Cette étude s'attache à comprendre les modalités de la reprise d'une prérogative royale au profit de l'entreprise coloniale française et entend démontrer que si l'entreprise de Groslier semble marquée de l'empreinte de sa «doctrine», elle s'insère dans faisceau d'initiatives françaises et cambodgiennes qui invitent à relativiser sa singularité. L'étude de l'histoire du Service des arts, observatoire de l'action coloniale de la France au Cambodge, révèle la place centrale du patrimoine khmer dans les relations entre l'administration coloniale et les élites cambodgiennes, avant comme après l'indépendance. Dans la définition qu'en donne Groslier convergent le système de légitimation de l'aristocratie fondé sur le retour à l'âge d'or angkorien, et la mission civilisatrice française qui se vit en protecteur d'un peuple khmer déchu depuis la fin d'Angkor. Cette convergence empiriquement saisie par le premier administrateur colonial né au Cambodge éclaire en grande partie la portée de son action culturelle et sa postéritéWhen in 1917 the painter George Groslier (1887-1945) responds to the wish of the colonial authorities to create a school of art in Phnom Penh, he proposes a vast program of ''restoration of the Cambodian arts". If he defines those as “universal”, being practised by all, from the peasant to the artist of the Palace, the arts he intends to "renovate" are however those that have always been the prerogative of the Palace. The "Service des arts cambodgiens" that he directs by 1919 preserves, reformulates and exalts an art of palatial origin that no ideological provision intended him to promote. This study attempts to understand the terms of the resumption of a royal prerogative to the benefit of the French colonial initiative and intends to demonstrate that if Groslier's action seems marked with the imprint of his “doctrine”, it is part of a set of initiatives both French and Cambodian that invite us to relativize its singularity. The study of the history of the Service des arts, observatory of the colonial action of France in Cambodia, reveals the central place of the Khmer heritage in the relations between the colonial administration and the Cambodian elites, before as well as after independence. In Groslier’s definition, the system of legitimation of the aristocracy based on the return of the Angkorian golden age converges with the French civilizing mission, which lives as a protector of Khmer people, fading away since the fall of Angkor. This convergence, empirically seized by the first colonial administrator born in Cambodia mainly clarifies the scope of its cultural action and its posterity
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Gurrola, Moisés A. "Creating Community in Isolation: the History of Corpus Christi’s Molina Addition, 1954-1970." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822818/.
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“Creating Community in Isolation: The History of Corpus Christi’s Molina Addition, 1954-1970” examines the history of the Molina Addition in Corpus Christi, Nueces County, Texas, and its serving district, the West Oso Independent School District, from 1954 to 1970. Specifically, this essay begins with an analysis of the elite-driven campaign to annex the blighted Molina Addition in September and October 1954. The city intended to raze the neighborhood and develop middle-class homes in place of the newly annexed neighborhood. Following the annexation of the Molina Addition, African American and ethnic Mexican residents initiated protracted struggles to desegregate and integrate schools that served their area, the West Oso Independent School District, as detailed in the chapter, “The West Oso School Board Revolution.” The chapter examines the electoral “revolution” in which Anglo rural elites were unseated from their positions on the school board and replaced by African American and ethnic Mexican Molina Addition residents. The third chapter, “Building Mo-Town, Texas,” focuses on residents’ struggle to install indoor plumbing, eliminate pit privies, construct paved roads, and introduce War on Poverty grants to rehabilitate the neighborhood. This chapter also offers a glimpse into the social life of Molina youth during the 1960s.
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Lumetta, Stefania Carola. "L’art de Giulio Benso : figure génoise entre maniérisme et baroque." Thesis, Université Paris sciences et lettres, 2020. https://tel.archives-ouvertes.fr/tel-02929317.
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Le projet de recherche que nous présentons porte sur l'étude et la reconstruction de la personnalité et de l’œuvre de Giulio Benso, peintre, dessinateur et architecte génois entre le maniérisme et baroque, spécialiste dans le décor à trompe l’œil. La dispersion d’un tiers de ses œuvres, en particulier de retables et des quelques décors à fresque, unie au grand nombre de projets graphiques de diverses qualités qui lui ont été attribués dans les dernières décennies ont engendré une mauvaise réputation de son travail, trop souvent considéré de second ordre par rapport à ses contemporains. Dans le cadre de cette thèse, son activité artistique sera donc analysée et contextualisée à l’aide de documents d’archives et des sources anciennes, à partir de sa formation auprès de l’Académie de Giovanni Battista Paggi, dans un environnement culturel génois, en passant par les nombreuses commandes liguriennes et étrangères –allemandes et françaises– lui assignées au cours de la vie. Cela nous permettra de mettre en évidence les contacts, les relations avec certains artistes tels que Giovanni Andrea Ansaldo et Giovanni Battista Carlone, les inspirations d’après les écoles lombardes, vénitiennes, bolonaises et romaines et les expériences qu’il vécut et qui lui ont permis de faire évoluer son travail ainsi que de diffuser son style aux générations suivantes de peintres. Notre analyse sera conduite d’une manière rigoureuse, en mettant en avant les documents existants sur l’artiste, sur Gênes et sur l'École génoise du XVIe et XVIIe siècles. Par ailleurs, notre étude sera enrichie par les recherches documentaires dans les différents établissements d’archives et par le dépouillement des sources anciennes, dans le but d’établir la complète activité artistique du peintre, tableaux et fresques détruits compris, pour en mettre en valeur son évolution et les relations avec ses contemporains. Notre travail présente donc une partie introductive concernant la fortune critique que Benso connut au cours de sa vie et après sa mort. A cela, fait suite l’étude de sa formation à l’Académie de Paggi et des commandes de peintures et de décorations en trompe l’œil reçues à Gênes, dans le Ponente et à Pieve de Teco. Puis, un troisième chapitre est consacré aux missions à l’étranger : en Allemagne, plus précisément à Weingarten, pour lequel nous publions dans le détail la relation épistolaire entre l’artiste et le commanditaire Gabriele Bucellino, grâce aux documents anciens retrouvés et des lettres transcrites par l’héritier de Benso, père Lorenzo Sertorio. En France, à Cagnes-sur-Mer (Provence), où nous étudions le vaste programme iconographique et iconologique du décor, choisi par la famille, avec une forte référence politique. Puis, nous présentons deux catalogues. L’un consacré à la peinture et l’autre à la production graphique. Le premier suit un ordre chronologique par mission, incluant les commandes perdues ou détruites, en cherchant, ainsi, à offrir une lecture de l’investissement artistique du peintre, du cadre social et culturel de la Ligurie, de l’Allemagne et de la France. Les commandes de longues durées telles que celles de l’Annunziata del Guastato à Gênes de 1638 à 1647 et Weingarten, de 1627 à 1667 ont été traitées dans leur unité pour favoriser l’analyse de leur évolution. A cela, fait suite le catalogue des dessins présenté selon l’ordre chronologique d’exécution. L’étude de la production graphique de Benso nécessite une analyse rigoureuse et scientifique basée sur des vérifications stylistiques de même que documentaires, c’est donc ainsi que nous avons procédé. En effet, les analyses conduites dans le passé sur les dessins ont révélé beaucoup de problèmes d’attribution, qu’impliquaient une remise en ordre. Nous nous sommes proposés donc, de tenter d’établir le corpus complet de son œuvre graphique en réexaminant toutes les feuilles à lui attribuées et celles de l’école génoise conservées dans collections publiques et privées du mondeThe research project we are presenting focuses on the study and the reconstruction of the personality and artworks of Giulio Benso, a Genoese painter, draftsman and architect between Mannerism and Baroque, a specialist in illusionist decoration. The dispersion of a third of his works, in particular altar paintings and some fresco decorations, combined with the large number of graphic projects of different quality which have been attributed to him in recent decades have generated a bad reputation for his work, too often considered as a second-rate one compared to his contemporaries. In this study, his artistic activity will therefore be analyzed and contextualized using archival documents and ancient sources, from his training at the Academy of Giovanni Battista Paggi, a Genoese cultural environment, to the numerous Ligurian and foreign orders - German and French - assigned to him during his life, in order to highlight the contacts, the relationships with certain artists such as Giovanni Andrea Ansaldo and Giovanni Battista Carlone, the inspirations according to the Lombard, Venetian, Bolognese and Roman schools. The experiences he had and that allowed him to evolve in his work and to communicate his style to the successive generations of painters will also be taken into account. This analysis has been conducted in a precise and rigorous manner, by highlighting the existing documents on the artist, on his life and his works. The in-depth study of all the modern contributions published so far on him, on Genoa and on the Genoese school of the 16th and 17th centuries, has been enriched by documentary research in the various archives establishments of the Liguria region and by the examination of ancient sources, such as guides and manuscripts on the artistic production of the territory, with the aim of establishing the complete artistic activity of the painter, including destroyed paintings and frescoes, in order to highlight its evolution and the relationships with its contemporaries. This work thus presents an introductory part concerning the critical fortune lived by the painter during his life and after his death. This is followed by the second, which is focused on the study of his training at the Paggi Academy and on commissions for paintings and trompe l'oeil decorations received in Liguria. Then, a third chapter is devoted to missions abroad: in Germany, in Weingarten, described through the epistolary relationship between the artist and the sponsor Gabriele Bucellino, thanks to the old documents that were found and the letters transcribed by the heir of Benso, father Lorenzo Sertorio, and in France, in Cagnes-sur-Mer, in Provence, for which the vast iconographic and iconological program of the decor, chosen by the family, with a strong political reference has been studied. This study then presents two catalogs. One devoted to painting and the other to graphic production. The first follows a chronological order by mission, including lost or destroyed orders, thereby seeking to offer a reading of the painter’s artistic investment in the social and cultural framework of Liguria, Germany and France. Long-term orders such as those from the Annunziata del Guastato in Genoa from 1638 to 1647 or those for Weingarten from 1627 to 1667 are processed in their unit to facilitate the analysis of their development. This is followed by the catalog of drawings presented chronologically. The study of Giulio Benso's graphic production requires a rigorous and scientific analysis based on stylistic as well as technical and documentary checks. Studies conducted in the past on the artist's drawings have revealed many attribution problems, which involve reordering. It is therefore proposed to try to establish the complete corpus of his graphic work by re-examining all the sheets attributed to him and those of the Genoese school kept in public and private collections
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Jolivet, Anna. "Représentations de l'école vénitienne en France au XIXe siècle : une écriture de l'histoire de l'art entre enjeux artistiques, scientifiques et idéologiques." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00779462.
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Cette thèse est un travail historiographique qui découle d'une étude des textes consacrés à la peinture vénitienne, publiés en français entre 1800 et 1914. Tout en considérant ces documents dans leur diversité (ouvrages savants ou de vulgarisation, récits de voyages), il s'agit de les replacer dans un contexte de formation de l'histoire de l'art comme champ autonome de connaissances. Car du fait de son statut encore incertain au XIXe siècle, la discipline se nourrit d'une littérature variée, et jette dans le même temps les fondements d'un savoir institutionnalisé. La notion d'école de peinture apparaît comme une catégorie de ce savoir et permet de concevoir la peinture vénitienne comme un phénomène singulier et cohérent. Envisagée pour son coloris, cette école est perçue comme le lieu d'une sensualité qui nie les exigences d'une doctrine héritée du classicisme. Les historiens de l'art du XIXe siècle mettent en place un appareil argumentatif et rhétorique visant à donner à leur discours une légitimité scientifique. Dès la moitié du siècle, l'usage d'une méthode scientiste permet d'expliquer la peinture vénitienne par des justifications sociales, climatiques ou raciales. Au sein du raisonnement qui démontre la nature anticlassique de l'école vénitienne, il convient aussi de considérer les arguments fournis par l'Orientalisme et par l'histoire de l'art flamand et hollandais, qui par un rapprochement avec Venise, éloignent encore sa peinture du modèle classique. Mais il importe par ailleurs de relever les ouvertures du discours qui infléchissent cette pensée dominante. La confrontation de la peinture vénitienne avec les nouvelles formes d'art contemporain - Romantisme, Impressionnisme, Symbolisme - permet d'en faire un lieu d'identification pour la modernité picturale. Enfin, les revendications identitaires qui parcourent une Italie en quête d'indépendance et une France hostile à la Prusse après la guerre de 1870, participent autour de 1900 à caractériser l'école vénitienne comme un lieu d'ancrage d'une identité classique, latine et/ou chrétienne résistant à la menace germanique.
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Lai, David Andrew. "UP IN THE BALCONY: WHITE RELIGIOUS LEADERS AND SCHOOL DESEGREGATION IN ARKANSAS, 1954-1960." UKnowledge, 2012. http://uknowledge.uky.edu/history_etds/5.
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This paper examines the various responses of progressive white southern clergy to school desegregation events in Arkansas. I investigate why no major white clerical movement emerged to support civil rights, arguing that internal and external factors limited their genuinely motivated witness. National and local clergy endorsed Brown for both religious and practical reasons, arguing that segregation was counter to Christian brotherhood and hurt worldwide evangelism. However, like William Chafe’s progressives in Greensboro, too many clergy worked for school desegregation but ignored African American voices, believing that their demands unnecessarily inflamed the local opposition and unfortunately urged patience and civility instead of justice. Furthermore, clerical intervention proved to be less effective than ministers expected. Sympathetic clergy experienced physical harassment and congregational opposition for speaking out, and local communities simply ignore their messages.
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Turner, Krystle Vivienne. "The augmented rural reality: How rural high school students' decisions to pursue university study in digital media are 'augmented' by the role of life history and cultural capital." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/123240/2/Krystle%20Turner%20Thesis.pdf.
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Rural students are underrepresented in higher education in Australia. At the same time, the workforce is rapidly transforming with the integration of digital processes into everyday work and life. Rural students are less digitally competent than urban students. Queensland, a largely regionalised state, has a high percentage of rural students. Using cultural capital as a framework, this research identifies family, community, school and digital media as influences on rural Queensland students' decisions to pursue higher education and their perceived value of digital media. Family plays the most significant role in the decision making process, while students' community and school also influence decisions and perceptions. Students' value of digital media depended somewhat on their intended career choice. Findings provide valuable new data around student influences towards higher education and digital media and suggest avenues to improve outreach programs targeting students in rural areas.
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Santos, Carla Maria de Albuquerque. "Estudando raça nos anos iniciais do Ensino Fundamental I: contribuições de obras do pintor Candido Portinari." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2050.
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Previous issue date: 2010-03-12Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This research is characterized by being a descriptive-analytical study of qualitative nature. It is, more specifically, a research intervention through which we analyze contributions of works by painter Candido Portinari to discuss the theme "black" with students of the 2nd. Series B, the elementary school I of a municipal school in São Paulo. The intervention was performed by an interdisciplinary project which, from some works of art of the painter Candido Portinari, allowed to treat the issue of "black", admiring the Law No. 10639/2003, which seeks to include in the official curriculum of compulsory teaching of the theme "History and Afro-Brazilian Culture." According to the law, 10,639 of 09 January 2003, the president of the republic Luiz Inacio Lula da Silva, 9394 changed the law of 20 December 1996 laying down the guidelines and bases for national education, to include in the official curriculum Network of education the compulsory subject "History and Afro-Brazilian Culture." It is based on theoretically works by painter Candido Portinari. The data sources were searched on the site www.portinari.org.br/crucible/abertura.htm. Whereas citizenship as axis, seeking knowledge through activities that make sense for students was chosen as the site of Candinho Travel the World "that gave support for the intervention of this research project. The results show high student involvement with the works and the theme. There are indications that there was recovery of the black race and interest in knowing the African culture, after the black race feel valued and depicted in works by Candido Portinari.
Esta pesquisa caracteriza-se por ser um estudo analítico-descritivo de natureza qualitativa. Trata-se, mais especificamente, de uma pesquisa intervenção por meio da qual se analisa contribuições de obras do pintor Candido Portinari para a discussão do tema raça negra com alunos da 2ª.série B, do ensino fundamental I de uma Escola Municipal em São Paulo. A intervenção foi realizada por meio de um projeto interdisciplinar o qual, a partir de algumas obras de arte do pintor Candido Portinari, possibilitou tratar do tema raça negra , contemplando assim a Lei n 10639/2003, que visa incluir no currículo oficial de ensino a obrigatoriedade da temática História e Cultura Afro-Brasileira . De acordo com a lei, 10.639 de 9 de janeiro de 2003, o presidente da república Luiz Inácio lula da Silva, alterou a lei 9394 de 20 de dezembro de 1996, que estabelece as diretrizes e bases da educação nacional, para incluir no currículo oficial da Rede de ensino a obrigatoriedade da temática História e Cultura Afro-Brasileira . Apóia-se teoricamente em obras do pintor Candido Portinari. As fontes de dados foram pesquisadas no site www.portinari.org.br/candinho/abertura.htm. Considerando a cidadania como eixo, buscando o conhecimento através de atividades que fizessem sentido para os alunos foi escolhido o site Viagem ao Mundo de Candinho que serviu de suporte para a intervenção deste projeto de pesquisa. Os resultados evidenciam alto envolvimento dos alunos com as obras e com a temática. Há indicadores de que houve valorização da raça negra e interesse por conhecer a Cultura Africana, após sentirem a raça negra valorizada e retratada nas obras de Candido Portinari.
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Macelloni, Alfredo Henrique. "Arte/Educação na aula de História: um espaço na construção da consciência ambiental." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2047.
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Previous issue date: 2010-02-11Promoting the sensitization and the construction of the environmental consciousness in the History classes was the goal of this study; it was trying to go deeper into the knowledge that already exists in the relations among History, Landscape, Landscape Painting and Environment. This paper approached the knowledge about environmental history [defended by Worster] to the historical scholar knowledge, with the intention of propitiating learning opportunities for a study inserted in the everyday coastal life. This approximation was done through artistic works from the historical, social, cultural and environmental point of view. It tried to verify the understanding about the environment coming from the students of the first year in high-school, with ages between 14 to 15 years old in the city of Bertioga-SP. Passing by a process of intervention in the History classes, where the researcher was also the teacher who is guided by the principles of the art / education proposed by Ana Mae Barbosa, some reproductions of paintings from the artist Benedito Calixto were used. What interested in Benedito Calixto‟s works was the thematic linked to the paintings of landscapes (natural and marine), in special the creations of the beginning of the twentieth century. After the intervention adjusted to the teaching of research-action expressed by Thiollent, the students dedicated themselves to the development of their artistic skills when they created visual poetic forms, based on photographs, for, this way, show in an artistic way the interaction between the man ant the environment. Some of these photographs served as a disclosure to the process of environmental degradation and the decrease in quality of life, other photographs were used as a way to value the natural beauty that are still preserved. With this, it was verified through questionnaires that appeared new comprehension in what was understood about the environment. For the analysis of the investigation in a qualitative order, the method Bardin was used, that, when classified categories using unities of register, it permitted a safer interpretation and made it easier the decisions during the intervention. This way, it was possible to find out that the experiences of art / education developed with the students made it possible the enrichment of the history classes and offered conditions that helped the construction of the environmental consciousness of the students involved.
Promover a sensibilização e a construção da consciência ambiental nas aulas de História foi a finalidade deste estudo, procurando aprofundar o conhecimento do que já existe nas relações entre História, Paisagem, Pintura de Paisagem e Meio Ambiente. Aproximou os conhecimentos da história ambiental [defendidos por Worster] ao saber histórico escolar, com a intenção de propiciar oportunidades de aprendizagem para um estudo inserido no cotidiano da vida litorânea. Essa aproximação se deu por meio de obras artísticas do ponto de vista histórico, social, cultural e ambiental. Procurou verificar o entendimento sobre meio ambiente por parte dos alunos do 1º ano do ensino médio, com idades entre 14 e 15 anos, de uma escola pública estadual da cidade de Bertioga-SP. Passando por um processo de intervenção nas aulas de História, onde o pesquisador é também o professor e norteado pelos princípios da arte/educação propostos por Ana Mae Barbosa, foram utilizadas algumas reproduções de pinturas do artista Benedito Calixto. O que interessou das suas obras foi as temáticas ligadas à pintura de paisagens (natural e marinhas), em especial as criações do começo do século XX. Depois da intervenção, ajustada aos ensinamentos da pesquisa-ação explicitados por Thiollent, os alunos se dedicaram ao desenvolvimento de suas habilidades artísticas ao criarem formas poéticas visuais, a partir de fotografias, para, então, revelar de forma artística as interações do homem com seu meio. Umas serviram como denúncia dos processos de degradação ambiental e diminuição da qualidade de vida, outras como formas de valorizar as belezas naturais que ainda estão conservadas. Com isso, verificou-se, através de questionários, que surgiram novas compreensões do que se entendia por meio ambiente. Para a análise das investigações, de ordem qualitativa, utilizou-se o método de Bardin, que, ao classificar categorias utilizando unidades de registro, permitiu uma interpretação mais segura e facilitou as decisões durante a intervenção. Desse modo, foi possível constatar que as experiências de arte/educação desenvolvidas com os alunos possibilitaram o enriquecimento das aulas de História e ofereceram condições que auxiliaram a construção da consciência ambiental dos educandos envolvidos.
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Jucker, Jean-Luc. "Ambiguous artefacts : towards a cognitive anthropology of art." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:0c90f23e-7f20-45b7-b9fd-f66dbdfaa3ab.
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This thesis proposes elements for a cognitive anthropology of visual art. Most works of art are human-made objects that cannot be approached in purely functional terms, and as such they frustrate important cognitive expectations that people have about artefacts. For this reason, it is hypothesised that art triggers speculation about the artist’s intention, and that it is intuitively approached as a form of communication. By application of Bloom’s (1996) theory of artefact categorisation, and Sperber and Wilson’s (1986/1995) relevance theory of communication, a series of predictions are generated for art categorisation (or definition), art appreciation, and art cultural distribution. Two empirical studies involving more than 1,000 participants tested the most important of these predictions. In study 1, a relationship was found between how much a series of works of art were liked and how easy they were to understand. Study 2 comprised four experiments. In experiment 1, a series of hyperrealistic paintings were preferred when they were labelled as paintings than when they were labelled as photographs. In experiments 2a and 2b, a series of paintings were considered easier to understand and, under some conditions, were preferred, when they were accompanied by titles that made it easier to understand the artist’s intention. In experiment 3, a series of artefacts were more likely to be considered “art” when they were thought to have been created intentionally than when they were thought to have been created accidentally. The results of studies 1 and 2 confirmed the predictions tested, and are interpreted in the framework of relevance theory. The art experience involves speculation about the artist’s intention, and it is partly assessed as a form of communication that is constrained by relevance dynamics. Implications for anthropology of art, psychology of art, and the art world are discussed.
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Bower, Matthew S. "Catastrophe in Permanence: Benjamin's Natural History of Environmental Crisis." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984263/.
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Walter Benjamin warned in 1940 of a certain inconspicuous threat to political thinking, not least of all to materialism, that takes progress as an historical norm. Implicit in this conception is what he describes as an empty continuum of time along which the prevailing tradition chronicles its own mythic development and drains everyday life of genuine historical experience. The myth of progressive history advances insidiously today in consumeristic and technocratic attempts at reconciling cultural imagery with organic nature. In this dissertation, I pursue the contradictions of such images as they crystallize around the natural history of twenty-first century commodity society, where promises of ecological remediation, sustainable urban development, and climate change mitigation have yet to introduce a true crisis of historical experience to the ongoing environmental crisis of capitalism. A more radical way of seeing the cultural representation of nature would, I argue, penetrate its mythic determination by market forces and bear witness to the natural-historical ruins and traces that constitute, in Benjamin's terms, a single "catastrophe" where others perceive historical continuity. I argue that Benjamin's critique of progress is instructive to interpreting those utopian dreams, ablaze in consumer life and technological fantasy, that recent decades of growing environmental concern have channeled into the recovery of an experience of the natural world. His dialectics of nature and alienated history confront the wish-image of organic abundance with the transience of its appropriated expression in the commodity-form. Drawing together this confrontation with a varied literature on collective memory, nature, and the city, I suggest that our poverty of experience is more than simply a technical, economic, or even ecological problem, but rather follows from the commodification of history itself. The goal of this work is to reflect upon the potentiality of communal politics that subsist not in rushing headlong into a progressive future but, as Benjamin urges, in reaching for the emergency brake on the runaway train of progress.