Repositório RCAAP

La tesi presenta una riflessione sullo spazio performativo per la performance art che, dal mio punto di vista, funziona come struttura. Attualmente, infatti, per comprendere il fenómeno, non è più possibile considerarlo in forma processuale ma è necessário comprenderlo nelle diverse vertenti, composto di differenti punti da considerarei, afio síesso tempo, indipendenti e interconnessi. Nel caso specifico 1'indagine vuole individuare se esistono potenzialità conoscitive date dalla relazione specifica performance/spazio, esaminare come la performance implica lo spazio inquanto delimitazione di un luogo, osservare la partecipazione collettiva come scambio d'esperienze attraverso le teorie artistiche e le scienze sociali - soprattutto i processi comportamentali - e finalmente, determinare la sua funzione política, visto che tutto questo incontra specificitá proprie quando relazionato con il corpo dello spettatore. Al centro deill´attenzione c'é l'aspetto, culturale e concettuale risultante, dei "valore" espositivo delia performance. Alilo stesso modo e a parità d´importanza, è necessário interrogarsi sulla configurazione dei prototipi espositivi e a quali necessita e ossessioni danno una risposta. Infatti, il carattere dello spazio é complice dell'occasione creativa in determinati casi ma non in tutti, e non sempre, e, ad una determinaía situazione spaziale corrisponde un tempo di fruizione dell´opera, oltre che una sua condizione di fruizione. Sulla stessa linea di continuità credo impossibile comprendere la complessità e le due prime parti senza considerare il gioco dei ruoli sociali e politici e il cambiamento radicale degli obiettivi dell´arte dei XXI secolo. Sara in discussione, secondo 1'ereditá duchampiana, il próprio modello dei pensare e dei fare arte e, piú precisamente, la validita delia nozione accettata e corrente di performance art nella sua identificazione attraverso i codici dei sistema artístico - garanzia principale dell´artisticitá dell´operazione e/o della mise en act

Este artículo acerca al lector a la historia de la Agregaduría Laboral de la Embajada española en Bonn durante los años sesenta. Analiza las motivaciones, las actividades, la estructura, los objetivos, los logros y los fracasos de esta peculiar institución franquista al servicio de los emigrantes españoles en la República Federal de Alemania. Se centra en la gestión del primer agregado, Luis E. Sorribes, quien concibió su trabajo como una cruzada contra la labor de socialización democrática entre los emigrantes españoles que desplegaban los sindicatos alemanes y las organizaciones antifranquistas.

We propose a refined theory of basic individual values intended to provide greater heuristic and explanatory power than the original theory of 10 values (Schwartz, 1992). The refined theory more accurately expresses the central assumption of the original theory that research has largely ignored: Values form a circular motivational continuum. The theory defines and orders 19 values on the continuum based on their compatible and conflicting motivations, expression of self-protection versus growth, and personal versus social focus. We assess the theory with a new instrument in 15 samples from 10 countries (N 6,059). Confirmatory factor and multidimensional scaling analyses support discrimination of the 19 values, confirming the refined theory. Multidimensional scaling analyses largely support the predicted motivational order of the values. Analyses of predictive validity demonstrate that the refined values theory provides greater and more precise insight into the value underpinnings of beliefs. Each value correlates uniquely with external variables.

This text aims to trace a history of the deaf pupil in Casa Pia de Lisboa during a temporal arch that goes from the XIX century’s twenties until the first decades of the XX century. An approach centred in the deaf pupil as a subject of discursive statements that produce him as an abnormal body is proposed, fixing in those speeches the reference that allows us to consider the formation of subjects as historic beings. The frame considered here is the one of a modern expression educational landscape, inhabited by specialist groups that develop a scientific language having the child as intervention subject. The school and, in the actual case a boarding-school scholarly model, emerges as a disciplinary institution that reflects a new attitude in the child’s government. This is the scenery in which an intervention techniques set which has the pupil as an application point and its normalization as an objective is projected. Along this text deaf students emerge in the educational arena as the Others, though the powers that be in the school tissue are not read in what they would potentially have had of violation of a deaf state, but rather in the productivity that those powers carry by enabling scholars transformation. The educational processes in Casa Pia de Lisboa are centred in a spoken domain, but it was in artistic, hand-made activities and in the senses exploration that they found the scholars’ subjectiveness ways. The central elements in this study are disciplinary, biopolitic and self technologies, addressing deaf in a domain, surveillance and control sense are intensely disengaged from coercive regimes and fix themselves in persuasion fields and in work about the pupil’s soul. In this manner an analysis of theoretic questions in a governmental perspective is made and it is articulated with the practice domain that has marked the formation of the deaf as a student and his identity’s production in a total institution

Par la formation que Luís Caetano Pedro d'Ávila a commencé à l'École Militaire et dês Mathématiques à Goa, ensuite continuée à 1'École Polytechnique de Lisbonne et qu'il a accompli dans Ia qualité d'élève d'architecture (1866-1867) à 1'École Impériale dês Beaux-Arts de Paris, son oeuvre s'est révélée un cas d'étude exemplaire dans le processus d'assimilation de la culture techno-artistique qu'a marque 1'architecture pendant la seconde moitié du XlX'eme siècle. Par sa pratique il a été capable de faire une synthèse entre le savoir de l´ingénieur et celui de 1'architecte. À travers lês projets, Ia direction dês chantiers et Ia modernisation dês édifices, qu'il a fait autant pour des clients prives comme pour l'État, Pedro d'Ávila a maintenu une continuité engagée dans sés options. Il a conçu une langage propre, inscrite dans une matrice classique, simultanément, cosmopolite et éclectique. Par son action, Pedro d'Ávila s'a battu au Portugal, pour Ia juste appréciation de son métier et a essayé de libérer la profession de l'architecte de la subalternité envers lês ingénieurs

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Após mais de três décadas pautadas por um forte silêncio analítico no que diz respeito à presença portuguesa em África no período que constitui o “último capítulo” do império português, esta dissertação discute as memórias, pós memórias e representações que surgem da experiência africana e do abrupto retorno após a revolução de Abril de 1974, tendo como base não apenas os testemunhos daqueles que viveram os espaços africanos entre as décadas de 1950 e 1970 (“retornados”) mas também dos seus filhos. A partir destes últimos relatos, de uma geração que não experienciou o espaço ou o tempo vivido pelos pais, procura-se compreender de que forma a experiência africana se manifestou “à escala” do lar, entre narrativas, silêncios, artefactos e, acima de tudo, como essas manifestações influenciaram as pós-memórias e representações destes indivíduos que vivem entre uma memória nacional dominante, e as memórias familiares. Num presente em que o passado colonial é tantas vezes “demonizado” ou romantizado (notadamente a partir do chamado “marketing da nostalgia” ou “literatura de retornados”), importa compreender as visões daqueles que constituem a última personificação da presença colonial portuguesa no continente africano, assim como dos indivíduos que, num contexto europeu, num Portugal depois de Abril, crescem em lugares onde a África do passado terá estado sempre presente – geração da pósmemória.

This thesis is an approach to the life and ceramic work of Querubim Lapa in the sense of his recognition as an agent/producer amidst his cultural and artistic group. This study has developed in two distinct but interwoven ways. On the one hand we have the artist's life story and his ceramic work and on the other, ceramic as the agent of a different approach. Therefore the research aimed at the appreciation of the artist's personality in order to uncover his identity, space and imaginary, as well as the recognition of the plastic and aesthetic values of his work as a result of an innovative language which benefited from an artistic background in which taking off and adding up are harmoniously interwoven. Furthermore, this study also recognises him as an agent of new realities produced by successive experimentations when he handles the materials with his own hands. The other side of the investigation focused on Portuguese ceramics, as the background of the ceramic work of Querubim, so as to have an historical perspective of this artistic discipline in which there is a strong technological component. This evaluation is made in order to understand the way it is taught in the Portuguese school system and to comprehend the reasons for its continuity, as well as the contribution of factories in this process. A special attention was given to the connection between architecture and ceramics personified both by the architects and Querubim Lapa, bearing in mind that on a first stage ceramics was organically linked with architecture and would eventually evolute in the sense of a depuration and formal autonomy

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Abstract expressionism/art is not a consequence of a casual act, it is rather the result of a new way of thinking and representing the real world. As far as the Portuguese case is concerned, Nadir Afonso is one of the first authors to do it in a conscious mould, first through his technical contribute then with his theoretical reflections on the aesthetic experience. Being an enthusiastic critic who criticizes even himself, his paintings developed from the geometric rigour which architecture has imposed on him; his work is free of superfluous elements, as it may be confirmed by the different phases his paintings run through, what led him to the consolidation of a personal theory about art; this theory is based on the mechanisms of artistic creation as well as on some attributes of people's aesthetic emotions, such as evocation, perfection, originality and harmony

The eighteenth century - the golden age of Portuguese art - was a time of grand achievernent propelled in large part by the Academia Real de História Portuguesa (Royal Academy of Portuguese History). The French influence, of crucial importance during these years, is readily apparent in every aspect of book production, from typography to engraving, and even in binding. The institution patronized by Dom João V made an indelible impact on the Portuguese book until the second half of the eighteenth century. After a 13-year interval of stagnation in the difficult period of recuperation following the earthquake of 1755, the founding of the Régia Oficina Tipográfica (the Crown's Typology Office) prompted a second surge of Portuguese editorial activity. This was an undertaking that aimed at the discovery of new graphic solutions for a diversified reading public and the promulgation of knowledge in a variety of áreas. We can trace the evolution of printing in Portugal by examining the principal works that came off of its presses, especially in the illustrative engravings produced by foreign and domestic artists — elements that afforded "value added" to the Portuguese printing industry. This thesis offers a transversal analysis of the printed book during the eighteenth century, by following the artistic route through the engravings and typographical features that these works contain

Ao longo desta dissertação procurámos analisar a periferia urbana a partir de uma abordagem micro-espacial sobre o vale da Mouraria de Lisboa durante a Idade Média, delimitado entre os espaços hoje ocupados pela Praça da Figueira e pelo Martim Moniz, subindo ao longo da freguesia dos Anjos até à Calçada do Desterro. Os vestígios arqueológicos aqui detetados desde finais do século X, com as fontes documentais e iconográficos permitiu identificar nesse vale um sistema irrigado que ali terá permanecido pelo menos em parte até ao século XVIII. O estudo desse agro-sistema implicou observar as dinâmicas subjacentes aos sistemas irrigados andaluzes e a sua interação com a expansão urbana desde o século XI até ao século XIV. Nesse sentido, analisámos a interação entre estes agro-sistemas e os poderes urbanos, atendendo ao papel das elites moçárabes e muçulmanas na sua implantação, mormente através da introdução de novos elementos tecnológicos e produções agrícolas. Pretendeu-se igualmente verificar a estabilidade do desenho na transição para o novo quadro de poderes instituído com a conquista cristã em 1147, analisando o papel do Rei e das instituições monásticas na conservação destes sistemas irrigados, das suas culturas e das suas tecnologias no contexto da cidade de fronteira. Esse passo levou-nos ainda a observar a formação da rede paroquial e a instalação dos mosteiros periurbanos de Lisboa nestes vales irrigados a partir dos exemplos da paróquia de São Lázaro e do Mosteiro de São Domingos. A partir do século XIII, procurámos igualmente compreender o comportamento destes agro-sistemas perante a progressiva urbanização visível no aparecimento do Arrabalde dos Mouros. Nesse ponto, procurámos então reconstituir os desenhos daqueles sistemas irrigados, refletindo sobre o papel da água na periferia urbana observando a sua incrementação e a sua conservação depois do aparecimento da Cerca Fernandina até aos finais do século XV.

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Problem Statement: The question of students’ engagement in schools has emerged as a powerful issue in educational context. The lack of assessment instruments, with studied psychometric characteristics, has constituted a problem. Purpose of Study: This study presents the elaboration of a new student engagement in school scale, including items of the "Engagement Scale" used in PISA 2000 and items in the "SES" adapted for Portugal (Veiga, Pavlovic, Garcia & Ochoa, 2010). Research Methods: The psychometric qualities — internal consistency and the external validity — were analyzed. The analysis allowed us to find a new scale that, surpassing the one-dimensionality of the scale of engagement used in PISA, has acceptable levels of reliability. In the study of external validity, the results in the "Student Engagement in School Scale, Version 2 (SES-V2)”, appeared partially related to the academic achievement across disciplines. Findings: The results permitted us to find that the SES-V2, besides going beyond the lack of scale items used in PISA 2000, presents psychometric qualities that can be used in research and psychoeducational practice, to assess the multidimensional students' engagement in school. Conclusions: The future use of the SES-V2 in the PISA studies is considered and proposed. This scale may be a useful opportunity for teachers, psychologists and other education professionals. Recommendations: to deepen the study of multidimensionality of students’ engagement in schools, including new items, as well as extending the external validity of the affective dimension of engagement, can constitute important fields of research.