Suchergebnisse

Este artículo tiene como objetivo presentar la arqueología virtual como una de las metodologías empleadas en los proyectos desarrollados en el marco de la línea de investigación "Arqueología de las órdenes militares" y que desde hace unos años se lleva a cabo desde la Universidad de Castilla-La Mancha en colaboración con la Fundación Castillo de La Estrella. Su objetivo es el estudio de estas instituciones en el marco de la Edad Media y desde la perspectiva de la cultura material aunando el análisis del patrimonio arqueológico y de las fuentes documentales. En este sentido, la arqueología virtual, entendida como la "aplicación de la visualización asistida por ordenador a la gestión integral del patrimonio arqueológico" ha sido incorporada como una metodología más con el fin no sólo de servir como herramienta de difusión y comunicación, tanto para especialistas como para el público general; sino también como un medio a partir del cual orientar y complementar el proceso de investigación. Presentamos el proceso metodológico en la aplicación de la arqueología virtual a varios casos de estudio de elementos patrimoniales relacionados con las órdenes de Santiago, Calatrava y San Juan, como son el Castillo de la Estrella (Montiel, Ciudad Real), la fortaleza y el convento de Uclés (Uclés, Cuenca) y el hospital santiaguista de Alarcón (Alarcón, Cuenca), entre otros. Así mismo, plantearemos las dificultades y ventajas de la aplicación de la arqueología virtual, especialmente en el sentido de herramienta en el proceso de investigación para el desarrollo del debate; el planteamiento de preguntas y búsqueda de soluciones; la plasmación de hipótesis; y la orientación de proyectos futuros.Lo más destacado:Planteamiento de la arqueología virtual como metodología útil en la investigación interdisciplinar del patrimonio de las órdenes militares: pros y contras, problemas y soluciones.Proceso y resultado de la aplicación de la arqueología virtual en varios estudios vinculados a las órdenes militares: castillos, conventos, hospitales o explotaciones rurales.Desarrollo de la investigación a través del uso de la arqueología virtual: generando interrogantes y buscando respuestas. ; Extended Abstract:The objective of this paper is to show the virtual archaeology as one of the methodologies applicated in the research line "Archaeology of the military orders" developed for some years by the University of Castilla-La Mancha in collaboration with the Fundación Castillo de la Estrella.The military orders are very important institutions for the study of the Middle Ages in the Iberian Peninsula. Because of that, there is a rich literature which approaches many aspects of these institutions: their origins and evolution; organisation; economic dimension; social reality. In contrast, the studies which have focused on the heritage linked to these orders have not had the same degree of development. This lack has motivated the creation of this important research line, where several specialists from different disciplines such as history, archaeology, architecture or restoration try to focus on the research of the military orders heritage, mainly in the region of Castilla-La Mancha. Thus, our research line is based on an interdisciplinary methodology, combining traditional practice with new technologies, like the virtual archaeology, which is described as the "using computer-based visualisation for the comprehensive management of archaeological heritage" (Principios de Sevilla, 2012).Virtual archaeology as a research methodologyThere are several applications for the virtual archaeology, but we could summarize them in three: research, conservation and restoration, and communication. In this paper, we focused on the first of them. We have worked with virtual archaeology in several cases such as the Castle of La Estrella (Montiel, Ciudad Real), the fortress and priory of Uclés (Uclés, Cuenca) or the hospital of Santiago of Alarcón (Alarcón, Cuenca), and we can say that this methodology has contributed to progress in the knowledge of all the elements which have been recreated. In the creation process of a virtual model, it is necessary to collect all information and data as are possible of the element on which we work. In this process, a lot of questions about several aspects appears, and we must try to find responses. In this way, we discover things which probably never would have been approached without this process. Furthermore, the virtual archaeology is an excellent method to sketch and discuss different hypothesis. It is a visual language with whom the specialists could show their ideas as support of the traditional text formats or other graphics sources as photos or plans.WorkflowOur workflow is similar toot her projects of virtual archaeology. Before to start to work, is important to think about the objective of the model. For example, there are a lot of differences between a simple model to sketch the possible spatial disposition of a building in the research discussion, and a recreation to show to the public. Then, we can start to work in a process which can be summarized in these steps:Compilation of all the documents, information and data as are possible about the element to recreate.Discussion about several aspects of the model as the plan, materials, constructive technics, decoration, landscape, etc. Is interesting to use sketches or drawings before starting to work in the 3D model.Design of the 3D model starting with the general aspects as the spatial disposition of the different elements, its size or the main details, and after that, work with the specific elements, decorations or contextual items (in recreations).Texturize the different objects of the model. It is important to work with the correct materials. In this way, we try to use the real textures of the archaeological elements when we have them.Integrate the model in a correct context: topography, landscape, people and animals, furniture, etc. These aspects will be present with a different degree of detail depending on the objective of the virtual model.The last step is the creation of various sources as images, videos, interactive application, etcTo preserve the scientific transparency is important to show the degree of evidence of the different elements of the model. An option is to use a colour scale like the one which has been developed by Aparicio Figueiredo (2016) which reflects the origin of the data and the degree of historical and archaeological evidence that we have.It is important to point out that the discussion between the specialists must be present in all these steps.ConclusionsThe virtual archaeology is a growing methodology in the heritage management sphere. As a communication tool, it is an excellent language to show ideas to the general and the specialised public. But this has many possibilities in other fields such as conservation and restoration, and research. As with any other methodology, it is necessary to create scientific criteria and rules for it use, a process which has already started with the creation of the Seville Principles. Now, is the turn of the researches and heritage specialists to do a correct use of this tool and develop its multiple possibilities.

This article reviews new aspects of the interplay between fashion and advertising, says that advertising messages through text-description shows image of the advertised product, with marking does not have to link with the signified. The basic expression fashion trends are in advertising.At XXI century advertising is always looking for new forms of expression, it involves in their communicative space of various art trends, cultural studies and public opinion. One of its main sources is a formative fashion.Transformed from a simple craft into a developed industry, fashion is becoming popular and constantly debated phenomenon. An increasing of its value and relevance to modern society, it sets the necessary impression creates the desired image for a particular person or goods. Fashion simultaneously combines the stability of tradition and innovative tricks, such as creativity and commercial benefits. We can state that thanked to advertising and marketing professional, more people follow fashion trends and become "fashion victims".Despite the fact that there are a large number of works on the history of fashion, art and outstanding designers create clothes, marketing in the fashion industry and "fashion philosophy", some questions still left unattended researchers, in particular the problem of interaction of advertising and fashion in terms of post and post-post-culturewhich, in our opinion, needs detailed study.First of all it is worth to mention the work of F. Kotler "Principles of Marketing", which theoretically grounded relationship marketing in the traditional sense of the term, with the global fashion industry. In the theoretical work of T. Hines and M. Bruce "Fashion Marketing" describes the basic techniques of marketing in contemporary fashion, given the statistics. In this work analyzes the activity of representatives of fashion secrets revealed professional artists. Another theoretical work that reveals the direct sphere of modern fashion is a "Fashion world" of French journalist M. Tunheym, which is an actual example of fashion masterpieces.Particular note is the work of French semiotics, the philosopher R. Barthes "fashion system" in which theoretical stresses that modern fashion is the opposition of three systems: "clothes-image (photo or drawing that have only limited symbolic), 2) Clothing-description (text, commenting that image) and 3) real clothing" [1, 9]. The first and third system, by R. Barth, mostly exhausted its denotative message transmission or manual visual image for practical action, while ьsystem-describing saturated clothing connotations; it is located "between things and words". We cannot agree with the theoretical relative that description connects fashion with the outside world, but at the same time and tendentiously distorting the world.A similar opinion was expressed by the modern Swedish researcher L. Svendsen in the "fashion philosophy". The author considers fashion as a phenomenon that, on the one hand, promotes the aesthetic of human life, on the other; affect the identity of the human population, backgrounds. French sociologist and philosopher J. Baudriyar continues the idea R. Barth, and draws attention to the social side of the phenomenon of fashion. For him, in the centres of interest are human simulacra-world signs that are manifested in various spheres of culture – art, fashion, media, technology, sexual relations and others.As noted in our advertising time, as the description text, shapes the fashion, it can transmit not only information about products and services, but also on public opinion in general or the political preferences of the masses. In modern fashion the rules permissible limits and canons of beauty disappear. It is filled with stylistic eclecticism, with all possible variations and combinations simulacra. The most common fashion borders on art, using the principal components of the artistic image – cognitive, regulatory and communicative. Combining data elements, it creates a new dialogue between the thing and its customer, which is dominated by the same thing.To better promote products, specialists in public relations, PR managers developed "special" story of collection that told what had fascinated the designer during creating this collection, inspired and motivated him. This myth has a certain character and it can be both too romantic and compassionate-dramatic. Always available a certain mystery in the message you are composing. Press releases (summary of concepts) often served with a touch of a charitable cause. In some cases, even a fashion filled with mystical meaning, appeal to the "sublime Gothic". This trend can be seen in the collections of local designers, for example, in the same collection Valerie Kovalska called "13".Thus, the hallmark of fashion is its pragmatic direction. The main income is presented as such especially for promotion of a product created by the so-called seasonal "must-have" objects of desire, trends, the hit lists of the month. A limited collection created an illusory uniqueness. Permanent imposing certain image cannot remain indifferent consumer and sooner or later he/she still remembered the advertised product. We introduce a special system of discounts and bonuses which are not always true, for example, the price of the thing to the "sale" and after remain unchanged.The use of a large number of different prints, dominated by vivid images, deep colors with complex graphics are popular. As a starting point "lucky number" are the first letter of proper names or "sacred mantras", which will certainly bring happiness and prosperity. Apply all known kitsch images:, ironic, romantic images of fairy tales (imagine myself Oriental Beauty); optical illusion that the buyer is transferred into the mysterious world of fantasy; surreal prints that are associated with S. Dali masterpieces; drawings and abstract floral patterns, graphic lines and geometric shapes, all of these things come to mind. Nothing can stop contemporary designers to bring their collections.Thus, we can state that the fashion continuously marked clothing and a world. Advertising creates fashion, it predicts the desired information about a product and imposes other people's opinions and preferences. Advertisingcombines the perception of reality and creates its reality by itself. The public mood is formed by the artificial icons. It sets the style which all people must wish. Even if in imitation of a designed image difficulties appear (such as lack of money or social status)but due to the advertising (description text)a consumer still wants to to become the owner of the advertised product. ; В статье рассматриваются современные аспекты взаимодействия моды и рекламы. Отмечается, что в рекламных сообщениях благодаря описанию-тексту эксплицируется образ рекламированного товара, при этом означающее не обязательно имеет связь с означаемым. Наводятся основные проявления модных тенденций в рекламе. ; У статті розглядаються сучасні аспекти взаємодії моди та реклами. Зазначається, що в рекламних повідомленнях завдяки опису-тексту експліціюється образ рекламованого товару, при цьому позначаюче не обов'язково має зв'язок з означуваним. Наводяться основні прояви модних тенденцій у рекламі.

Im Jahr 2001 öffnete mit dem Tanzquartier Wien eines der heute wichtigsten Häuser in Europa, die sich auf praktischer wie theoretischer Ebene zeitgenössischer Tanz- und Performancekunst verschrieben haben, seine Pforten. Die Auseinandersetzung mit tanz- und performancetheoretischem Wissen ist integrativer Bestandteil der Programmgestaltung – Ausdruck dafür ist etwa ein eigenes Theorie- und Medienzentrum, das von Krassimira Kruschkova geleitet wird, die Leitung der Dramaturgie obliegt Sandra Noeth. Der Anspruch einer Verflechtung von künstlerischer Praxis und theoretischen Positionen liegt auch in dem von Sandra Noeth gemeinsam mit Gabriele Klein herausgegebenen 21. Band der Reihe Critical Dance Studies zugrunde: Basierend auf der internationalen Konferenz "Performing Reality. 'Making Worlds' in Dance and Choreography", die im November 2009 in der Kulturfabrik Kampnagel in Hamburg stattgefunden hat, versammelt Emerging Bodies. The Performance of Worldmaking in Dance and Choreography insgesamt 18 Beiträge in fünf Kapiteln, die zum Teil die im Rahmen der Konferenz erprobten, unkonventionellen Formate auch in der verschriftlichten Form aufgreifen. Die Lektüre gestaltet sich gleichsam als abwechslungsreiche Fahrt durch theoretische und praktische Gefilde einer lebendigen Landschaft vorwiegend zeitgenössischer Tanz- und Performancekunst. Konstitutiv für den vorliegenden Band ist jene Ende der 1970er-Jahre von Nelson Goodman formulierte These der 'Ways of Worldmaking': 'Welt' wird dabei nicht als etwas Gegebenes betrachtet, sondern vielmehr als Schöpfungsprozess, und "Worldmaking is therefore always social, cultural, religious, framed, historically in flux and reliant on scientific and philosophical discourses and experiences" (S.8). Daran anknüpfend geht es um die Frage, was denn das für Welten sind, die mit körperlichen und tanzästhetischen Mitteln geschaffen werden, und welche Potentiale im Tanz in Bezug auf Goodmans Thesen stecken. Seit den 1990er-Jahren sind es im Speziellen Prozesse der Globalisierung und Trans-Nationalisierung, die dem Konzept der 'Welterzeugung' auch innerhalb der performativen Künste einen neuen Bedeutungsgehalt zuweisen. Auf theoretischer Ebene manifestiert sich dies etwa in den Diskussionen um eine 'global history' oder in der Aneignung von Methoden aus den Postcolonial Studies in der internationalen Tanzforschung; auf praktischer Ebene haben diese Transformationen in Stilrichtungen wie dem post-strukturalistischen Tanz oder dem Konzepttanz Ausdruck gefunden. Gabriele Klein und Sandra Noeth formulieren im Vorwort die These, auf die der vorliegende Band aufbaut: "This volume is based on the assumption that dance reveals its effectivity not in the representation of existing structures and systems, but unfolds its potentiality precisely in the offering of alternatives, of utopias, developed with the help of the body and through the organizations of movement" (S. 9). Darauf Bezug nehmend, gehen die Beitragenden der Frage nach, wie Tanz 'Welten' schafft; dabei wird das spezifische 'Worldmaking' von Tanz und Choreographie anderen Kunstformen und deren Forschungsmethoden gegenübergestellt. Die ersten drei Texte zum Thema 'Social Realms' von Gabriele Klein, Randy Martin (Tisch School of the Arts, New York) und der Dramaturgin Bojana Kunst changieren zwischen den beiden Polen Ästhetik und Politik. Tanz eignet sich, um Politik zu denken – behauptet etwa Randy Martin, denn "Dance is a crucial analytic method that makes legible a larger sweep of how we move together" (S.34). Martin spricht von einer sozialen Kinästhetik, die ihre spezifischen Verfahrensweisen global verbreitet und somit andere Methoden von Mobilisierung in Umlauf bringt – wie dies etwa bei Breakdance der Fall ist: Breakdance "elaborates upon the released hips of black popular dance, incorporates call-and-response forms grounded in practices such as the ring-shout, and inverts the cosmology of up and down, front and black" (S.36). Ergänzt wird der erste Teil des Bandes durch ein Gespräch von Sandra Noeth mit der Hamburger Performancegruppe LIGNA über deren performatives Hörspiel Der Neue Mensch, das während des Kongresses präsentiert wurde. Die Performance verschränkt ästhetische Phänomene und politische Parameter – konkret setzt sie sich mit in den 1920er-Jahren kursierenden Diskursen zum Körper auseinander und fragt danach, welche Art von Körper formgebend für die Idee des 'Neuen Menschen' war. Das darauffolgende Kapitel steht unter dem Motto 'Hybrid Spheres' und versammelt Beiträge von Susan Leigh Foster (Department of World Arts and Cultures, UCLA), Sabine Sörgel (Department of Drama, Theatre and Performance, Wales) und der Ethnologin Anette Rein, die bis 2008 Direktorin des Museums der Weltkulturen in Frankfurt am Main war, sowie ein Künstlerinnengespräch zwischen Gabriele Klein und der Theaterregisseurin Monika Gintersdorfer. In den vier Texten sind ausgewählte Beispiele zeitgenössischer Tanz- und Performancekunst aus Thailand, Bali und Afrika Gegenstand der Diskussionen. Dabei wird immer wieder auf die Abhängigkeit der Kunst von gesellschaftspolitischen Rahmenbedingungen verwiesen; so unterstreicht Monika Gintersdorfer etwa die Tatsache, dass es in ihrer Zusammenarbeit mit afrikanischen Tänzer/innen in Deutschland immer auch um Aufenthaltsbewilligungen ginge – um die Erlaubnis also, sich zu bewegen. Methodisch tanzt der Beitrag von Susan Leigh Foster etwas aus der Reihe: Foster stellt den Versuch an, die besondere Form, die sie bei der Konferenz für ihren Vortrag gewählt hatte, in einen verschriftlichten Beitrag zu übersetzen; sie inszeniert ihren Text gleichsam als imaginierten Dialog mit Jérôme Bel: "I stage a three-way conversation between French choreographer Jérôme Bel, myself as a feminist scholar writing about a piece he created in collaboration with Thai dancer Pichet Klunchun entitled Pichet Klunchun and Myself (2004), and myself watching the performance of the lecture along with Bel" (S.73). Mit ihrem Beitrag stellt Foster das Potential der Wissensproduktion in Performances aus und zeigt Möglichkeiten auf, durch die Künstler/innen und Wissenschafter/innen in Dialog treten können. Gleichzeitig überlässt diese Vorgehensweise der Theorie nicht das letzte Wort – so lässt Foster sich in ihren selbstironischen Ausführungen immer wieder von einem kritischen Bel unterbrechen: "But I have to say that it strikes me as very odd, this custom of standing in front of people and reading a peace of paper" (S.77). Im nächsten Abschnitt werden spezifische 'Art Worlds' abgeschritten: Gabriele Brandstetter (FU Berlin), Julie Townsend (Johnston Center for Integrated Studies, Kalifornien), Knut Hickethier (Universität Hamburg) und der Berliner Kunsthistoriker Michel Diers weisen auf die Besonderheiten von Tanz unter Einbeziehung anderer Kunstformen hin. Während Gabriele Brandstetter in ihrem Beitrag etwa den Fokus auf die Performativität von Tanz im Verhältnis zur Performativität von Schrift – die sie für ihre Untersuchung in erster Linie als körperlichen Akt des Tanzens und Schreibens versteht – legt, zieht Julie Townsend Autobiographien von Tänzerinnen aus dem frühen 20. Jahrhundert heran, um jene Künstlerinnen in ihrem jeweiligen kulturellen Kontext zu verorten. Knut Hickethier wiederum zeigt, dass Tanz und Film eine Gemeinsamkeit in ihrer Fokussierung auf Bewegung, Körper und Rhythmisierung haben; er fragt danach, wie Bewegung und Tanz in populären Filmen bestimmte narrative Räume eröffnen. Auch Michael Diers widmet sich in seinem Beitrag dem Film, konkret Michelangelo Antonionis Blow up (GB 1966), in dem das Medium Photographie dem Medium Film gegenübergestellt wird, um auf diese Weise Stillstand und Bewegung, bewegte Bilder und bewegte Körper in den Blick zu rücken. Der vierte Teil des vorliegenden Bandes steht unter dem Leitgedanken 'Digital Worlds – Processing Bodies' und stellt drei Projekte vor, die auf künstlerisch-medialer Ebene Tanz in Beziehung zu Prozessen der Notation, Digitalisierung und Speicherung setzen. Zunächst geben Fréderic Bevilacqua, Norbert Schnell und Sarah Fdili Alaoui, drei Forschende am Institute for Research and Coordination in Acoustics and Music, Paris, einen Überblick über derzeit verfügbare technische Möglichkeiten der Aufzeichnung von Gesten und Bewegungen, die in Zusammenarbeit mit Choreograph/innen entwickelt werden. Im Anschluss daran stellen Stephen Turk und Norah Zuniga Shaw (Ohio State University) aus ihrer jeweiligen Perspektive das Projekt Synchronous Objects vor, bei dem sich Wissenschafter/innen verschiedener Disziplinen mit der Choreographie von William Forsythes One Flat Thing, reproduced (2000), einem Stück für 17 Tänzer/innen, auseinandersetzen. In Forsythes Arbeit bewegen sich die Performer/innen in 15 Minuten 30 Sekunden durch ein Labyrinth aus Tischen: "Forsythe's furnishing of the performance space with an array of tables unbalances the conventional understanding of ground by providing a new surface datum which acts perceptually on the figure of dancers as their bodies are effectively bisected, sectioned and measured by the plane of the tables", so Turk (S.196). Synchronous Objects versteht sich als ein gemeinschaftliches Projekt der Visualisierung von Choreographie, das sich vom Tanz hin zu Daten und Objekten bewegt: "The date are numeric translations of the choreographic structures/systems in the dance. And the objects – animations, graphics, computer applications – are visual expressions of those structures" (S.208), erklärt Daphne Zuniga Shaw gemeinsam mit William Forsythe und Maria Palazzi, Creative Director des Projects. Den Kern des abschließenden Segments über die 'Working Principles' bilden von den beiden Kuratorinnen des Tanzkongresses 2009 in Hamburg, Sabine Gehm und Katharina von Wilcke, geführte Gespräche über kuratorische, künstlerische und dramaturgische Arbeitsprozesse mit Gesa Ziemer (Universität Hamburg) und der Mitherausgeberin des Bandes, Sandra Noeth. Gehm und von Wilcke schildern in ihrem Beitrag, wie das Konzept des 'Worldmaking' auf die Struktur des Kongresses – den sie als "a temporary microcosm and in itself choreography" (S.227) begreifen – Einfluss genommen hat. So dienen etwa in Performances erprobte Verfahrensweisen als Inspirationsquelle; gefragt sind vor allem partizipatorische Formate wie Salons, Lecture Performances, Werkstattgespräche oder öffentliche Meisterklassen. Die jeweilige geographische und disziplinäre Verortung der insgesamt 21 Autor/innen und die von ihnen in den Blick genommenen Arbeiten spiegeln zum Einen die globale Vernetzung von Wissenschafter/innen und Künstler/innen wider; zum Anderen wird dadurch deutlich, dass sich die gegenwärtige internationale Tanz- und Performance-Szene nicht davor scheut, den Rahmen der eigenen Disziplin zu sprengen und die Qualitäten von Tanz- und Performancekunst von anderen Positionen aus zu befragen. Die beiden Herausgeberinnen bieten mit Emerging Bodies. The Performance of Worldmaking in Dance and Choreography einen umfassenden Einblick in praktische Positionen und theoretische Diskurse der internationalen Tanz- und Performancekunst. Beim Lesen mag man durchaus den Eindruck gewinnen, als würden die Texte des vorliegenden Bandes sich von den künstlerisch-ästhetischen Verfahrensweisen der Performances leiten lassen, und so auf ganz spezielle Art und Weise den Tanzkongress 2009 widerspiegeln, der den Ausgangspunkt der vorliegenden Arbeit bildet.

The aim of the article is to delineate contours of certain social strategies, images and discourses as well as cultural practices related to the Lithuanianness, as culture and heritage imagined, constructed and contested in and among different waves and generations of the Lithuanian Americans. The period, the wave of immigration, the way it happened and in particular the rooted-ness in the American soil are basic markers for a distinct pattern of Lithuanianness to be recognized. Any one of these patterns falls into the ascription of a certain social strategy, ideology and politics of identity and is motivated and re-enforced by 'symbolic capital' taken from 'repository' (Castells 1997) of national or ethnic heritage. Consequently, the Lithuanian heritage gains its meaning as well as any item of the national 'repository' becomes imagined, (re) constructed and circulated differently among at least four generations of the Lithuanian descendants, who started to settle in the United States in 1860's as economic immigrants, continued in the late 1940s as political DPs (who have moved from displaced person's camps in Germany) and do continue up to the recent wave of post-Soviet Lithuanian immigration. Lithuanianness as ethnicity can operate as shelter and aid. This is a strategy of particular importance for the each category of the Lithuanian immigrants. It is a sort of model for ethnic subsistence, based on neighborhood ties, as well as on shared language skills and also on an appreciation of common cultural heritage in terms of ethnic foods and customs. Ethnic emancipation is a strategy especially evident during the establishment of the ethnic Lithuanian Catholic Church with service in Lithuanian although all believers in the diaspora never supported such a strategy. Nationalist mission is a strategy of cherishing, perpetuating and retaining ethnicity/nation-ness in terms of culture, language, traditions and heritage. The Lithuanian Charter of 1949 is the best example of the nationalist imperative and mission, applicable to any Lithuanian in exile "to pass on the culture to future generations to insure the eternal nature of his nationality' The parish of the Lithuanian Catholic Church is the most visible social network in the case of ethnicity. The role of the parish to shelter and embrace ethnic life, is most visible through the whole history of the Lithuanian diaspora in the US, in particular in its early stages. Only one other ethnic organization – the Lithuanian Community, (Lietuviu bendruomene) founded and maintained almost entirely by DPs, primarily for nationalist activities, could be compared in scale and popularity with the parish. For many that immigrated after World War II, the Lithuanian Community was at least of equal importance as was the parish to old-timers. The social networks of the post-communist immigrants are based on common social and economic experience of the Communist regimes, visible in the job market, such as the economy of favors, nepotism and clientalism. Participation in such social networks 'of their own' or 'groups of friends' is a source of higher salaries, more secure jobs, benefits, and finally, means of successful adaptation, helping immigrants to achieve higher social and economic mobility in American society. Earlier generations of immigrants also transplanted their social experiences from the home country, but unlike new immigrants, they were met by, and exposed to, the same or, at least, very similar social bonds in the new country, where the parish stands as the best example. The most critical issue along all waves of immigration is a normative image of home country. Old-timer's wave of immigration is overwhelmingly guided by rural and heroic romanticism of the old underdeveloped country. Their image of the people of this country is that of a 'strong' people who founded a medieval empire, the Grand Duchy of Lithuania and regained independence from Russia twice during the last century, in 1918 and in 1990. It is also the main source of being 'proud of being Lithuanian'. The DPs image of the home country was constructed from the typical political refuge experience. The occupied and suffering country, left behind at the end of the World War II, encouraged them to take on a mission of regaining nation and retaining its culture. For the post-Communist newcomers, the image of the home country is full of postcolonial transitional uncertainty, with a clear understanding that Lithuania belongs to the Eastern European region with Russian as lingua franca. They are very self-conscious, and their image of the home country and Lithuanian people is in many ways focussed on the 'unique-communist regime – experience' as possessed by the immigrants themselves and their compatriots in Lithuania. The question of sociocultural production of meaning of ethnicity implies praxis of everyday life in diasporas, where manipulation of the Lithuanianness takes place. At least two Lithuanian cultural and heritage practices could be defined. The first involves the essentialisation and codification of culture and heritage. Discourses on the issue of 'birthright to glorious Lithuanian heritage' already appeared in the Lithuanian newspapers published in the US at the end of the nineteenth century. The issue of the Lithuanian culture was altered significantly by DPs. The perpetuation of the notion of occupied, and thus repressed and deprived, Lithuanian nation and its culture gained political acceptance within the US government. It gave political motivation for Lithuanian culture in the US to become more than one of many ethnicity cultures within the 'American dream', and to acquire a 'public' and 'prestigious' image. So, despite the predominant 'Melting Pot' cultural politics of the US during the post World War II period, the Lithuanian label held moral and cultural prestige. A second visible Lithuanian cultural and heritage practice in America invokes a cultural bricolage of retained and adopted elements. Cultural bricolage is conducted by creating new meanings for national/ethnic cultural forms of kinship, language, artifacts, visual-virtual materials, narratives and stereotypes. Ethnic identifications phrased as "Proud to be Lithuanian" or 'I am American first and Lithuanian always' along with a few catchwords or phrases in Lithuanian are starting point in practicing cultural bricoleur. An interest in family genealogies, which is usually strongly related to an interest in finding ethnic roots and eventually ends up in ethnic pilgrimages to Lithuania as a homeland (or the land of ancestors), also belongs to that practice. Material objects, which are supposed to belong to the ethnic/national repository, are used for decoration of private homes and public halls, usually enshrined by ethnic shrines. ; Manipuliavimas bet kuriuo ir bet kurio paveldo – ypač tautinio – aspektu vyksta ne tik ir ne tiek tautinės valstybės viduje, bet nė kiek nemažiau ir už jos ribų. Emigrantus, pabėgėlius, deportuotuosius ir kitus persikėlusius ar perkeltuosius sieja ne tik socialinė atmintis apie "namų šalį", bet ir transplantuoti, reprodukuojami bei sumeistraujami tautiniai paveldai. Šio rašinio tikslas – nubrėžti kai kurių socialinių strategijų, socialinių tinklų, įvaizdžių ir diskursų kontūrus, bendrais bruožais aptarti su konkrečiu etniškumu/nacionalumu sukibusio tapatumo kultūrines praktikas, kitaip sakant lietuviškumą – kaip savitą lietuviškos kultūros ir paveldo formą; t. y. kaip "lietuviškumą" įsivaizdavo ir įsivaizduoja, konstravo ir tebekonstruoja bei/ar siekia užginčyti skirtingos Amerikos lietuvių bangos ir kartos. Remiuosi 2000–2002 m. JAV Vidurio Vakarų valstijose atliktų antropologinių lauko tyrimų duomenimis. Didžiausias dėmesys skirtas Rytų ir Pietų Ilinojaus (įskaitant Westville, Collinsville, West-Frankfort ir Herrin) bei Misurio (St. Louis miesto rytinės dalies) valstijų buvusių angliakasių bendruomenių likučiams bei lietuvių gyvenamiesiems rajonams Èikagoje (įskaitant Brighten Park ir Marquette Park).

A trailblazing look at the historical emergence of a global field in contemporary art and the diverse ways artists become valued worldwidePrior to the 1980s, the postwar canon of "international" contemporary art was made up almost exclusively of artists from North America and Western Europe, while cultural agents from other parts of the world often found themselves on the margins. The Global Rules of Art examines how this discriminatory situation has changed in recent decades. Drawing from abundant sources—including objective indicators from more than one hundred countries, multiple institutional histories and discourses, extensive fieldwork, and interviews with artists, critics, curators, gallerists, and auction house agents—Larissa Buchholz examines the emergence of a world-spanning art field whose logics have increasingly become defined in global terms.Deftly blending comprehensive historical analyses with illuminating case studies, The Global Rules of Art breaks new ground in its exploration of valuation and how cultural hierarchies take shape in a global context. The book's innovative global field approach will appeal to scholars in the sociology of art, cultural and economic sociology, interdisciplinary global studies, and anyone interested in the dynamics of global art and culture

Esta tesis doctoral investiga la imagen exterior de España proyectada en el periodismo turístico y de viajes desde 1970 hasta 2015. En el desarrollo de la investigación, se ha seleccionado y analizado de manera sistemática, exhaustiva y comparada uno de los principales medios representativos de ese tipo de periodismo a nivel internacional y que forma parte esencial de lo que han venido a llamarse "geografías populares", como son las revistas de contenido geográfico dirigidas al gran público. En este sentido, la investigación planteada no pretende ni desdeñar la importancia de otros medios representativos de este género periodístico, tales como las guías de viaje, sitios web o canales de televisión especializados, ni las interfaces tecnológicas en las que en un plano más general se desarrollan las geografías culturales (véase Aguilar, 2014, Kinsley, 2015). En concreto, la tesis centra su atención en las revistas que para el período considerado han tenido mayor alcance y difusión en los Estados Unidos, el Reino Unido y Francia, tres países de especial relevancia para la política y el mercado turísticos españoles. Para el caso estadounidense se estudia el National Geographic Traveler en comparación con su revista matriz, el National Geographic Magazine1, para el británico The Geographical Magazine y para el francés la revista GEO en su edición francesa. Estas revistas se denominarán en adelante de la siguiente forma: National Geographic Magazine como NGM, National Geographic Traveler como NGT y The Geographical Magazine como TGM (aunque en la actualidad se llama Geographical, en esta investigación el acrónimo se ha planteado a partir del nombre inicial). Finalmente, la revista francesa GEO será identificada sin acrónimo, es decir, como GEO. Las revistas de geografía popular, así como otros medios análogos, surgieron al amparo de la creciente generalización social del fenómeno turístico, contribuyendo poderosamente a modelar la imagen pública de la geografía en sus respectivos países y, de manera más amplia, la forma de percibir el mundo, sus culturas y paisajes por parte de sus numerosos lectores. La gran mayoría de las revistas de geografía popular se inspiran en buena parte en el modelo seguido por el NGM, el ejemplo más conocido y difundido, así como el principal referente internacional desde hace más de un siglo, tanto en el campo del fotoperiodismo, como en el de la divulgación científica de carácter geográfico. El NGM y NGT se publican en los Estados Unidos desde 1888 y 1984, respectivamente. Sendas revistas se editan por la National Geographic Society (en adelante, NGS), cuya sede se encuentra en Washington D.C. Por su parte, el TGM (que desde 1988 pasó a llamarse Geographical), se publica en el Reino Unido desde su fundación en 1935 y se encuentra amparado por la Royal Geographical Society (en adelante, RGS), cuya sede se localiza en el barrio londinense de Kensington. Por último, la versión francesa de GEO se crea en 1979, aunque esta publicación se funda en Alemania tres años antes. Al contrario que los casos anteriores, GEO no cuenta con el respaldo de ninguna sociedad geográfica francesa. La presente tesis doctoral analiza las imágenes y representaciones de España que se han transmitido a través de las revistas de geografía popular señaladas, todas ellas de periodicidad mensual o bimensual. El análisis se focaliza en la retórica textual y visual sobre España comunicada fundamentalmente a través de textos y fotografías, pero también de mapas y gráficos. En sintonía con otros trabajos previos sobre este tipo de publicaciones (por ejemplo, García Álvarez et al., 2013 y García Álvarez y Marías, 2013), este estudio se realiza con dos objetivos fundamentales. De un lado, para contribuir al conocimiento del periodismo turístico y de viajes, así como al enriquecimiento de la historia de la geografía de carácter popular o divulgativo. Esta última ha sido mucho menos estudiada tradicionalmente que la llamada geografía académica y, sin embargo, ha sido notablemente más influyente que la anterior en la conformación de la imagen púbica de la disciplina geográfica en ciertos aspectos y territorios. De otro lado, y tanto o más importante que el anterior, para ampliar el conocimiento de la imagen reciente de España y de los españoles en el extranjero, particularmente en los Estados Unidos, el Reino Unido y Francia. Esta es una cuestión sin duda relevante a la hora de considerar y comprender determinadas visiones y estereotipos con consecuencias significativas en los terrenos ideológico, cultural, económico, e incluso geopolítico. Asimismo, la imagen exterior, geográfica y viajera de un país no solo refleja las ideas, los intereses y las percepciones dominantes en cada momento, sino que también influye significativamente en las actitudes ejercidas sobre ese país en el exterior. La tesis doctoral indaga en los procesos de continuidad y ruptura de los imaginarios exteriores sobre España en las citadas revistas desde una perspectiva geográfica. Es decir, analizando la génesis, pervivencia y evolución de estereotipos acerca de los paisajes, tradiciones y tipos humanos españoles a través de la mirada del extranjero. Estos estereotipos que atraen el interés del visitante, cuanto más simplistas, han resultado más efectivos. Aunque no son falsos sino incompletos, los estereotipos pueden actuar como reclamos de la industria turística, pero también dar lugar a simplificaciones y distorsiones que, por lo general, estigmatizan o idealizan en exceso a una determinada sociedad. En el terreno aplicado, y en especial en relación con la política turística, este tipo de investigación puede ser importante porque el conocimiento de las imágenes, tanto negativas como positivas, que sobre España mantienen los medios extranjeros, posibilita generar nuevas estrategias de posicionamiento en los mercados, sin dejar por ello de respetar plenamente la proyección y divulgación de la cultura española y de revalorizar los atractivos turísticos del país. En definitiva, ampliar el estudio de las perspectivas desde las cuales se imagina y se percibe España desde el exterior incrementa la confianza del país en determinadas esferas, como el ámbito político y económico, así como posibles flujos de inversiones extranjeras. ; This Ph.D. dissertation studies the external image of Spain depicted in the touristic and travel journalism from 1970 to 2015. In the course of the research, one of the most representative examples of that kind of journalism internationally has been systematically, exhaustively, and comparatively analyzed. That is to say, the so-called "popular geographies" magazines, which mainly target a general audience. In this regard, this research does not intend to discard the undoubted relevance of other representative examples within this journalist genre, such as travel guides, websites, or television channels specialized in travels, nor does it with respect to other generalist interfaces developing or reinforcing the so-called "cultural geographies" (see Aguilar, 2014, Kinsley, 2015). More specifically, this doctoral thesis focuses on those far-reaching magazines with a great diffusion within the period considered in the USA, UK, and France, three countries of special relevance for the Spanish tourist market and policy. As for the USA, the National Geographic Traveler is studied in comparison to its parent 20 magazine, the National Geographic Magazine2, while The Geographical Magazine and GEO are respectively examined for the case of UK and France. Hereafter, these magazines will be referred as follows: National Geographic Magazine as NGM, National Geographic Traveler as NGT, and The Geographical Magazine as TGM (though its current name is Geographical, this study uses the acronym raised from the original name). Finally, the French magazine, GEO, will be identified without any acronym as GEO. The popular geographical magazines, as well as other similar mass media, emerged in the frame of an increasing socialization or democratization of the tourism phenomenon, contributing this way to shape the public image of Geography respectively in each country and, more broadly, influencing the way many readers view and understand the world, its cultures, and environments. The majority of the popular geographical magazines were largely inspired in the model followed by the NGM, the best known and most divulgated, as well as the most prominent international reference for more than a century, both in the field of photojournalism and in the scientific dissemination of geography. The NGM and the NGT have been published in the USA since 1888 and 1984 respectively to nowadays. Both magazines have always been edited by the National Geographic Society (henceforth, NGS), whose headquarters are based in Washington D.C. For its part, the TGM (which came to be called Geographical since 1988), has been published in the UK since its foundation in 1935 and is operating under the umbrella of the Royal Geographical Society (hereafter, RGS), whose headquarters are located in the London neighborhood of Kensington. Finally, the French version of GEO was created in 1979, although this magazine had already been launched in Germany three years before. Contrary to the previous cases, GEO has never had the support of any French geographical society. In this regard, this doctoral thesis examines the images and representations of Spain transmitted through the aforementioned popular geographical magazines, all of them with a monthly or bimonthly frequency. The analysis focuses on the textual and visual rhetoric on Spain transmitted through texts and pictures, but also through maps and graphics. In line with previous papers on this topic (for instance, García Álvarez et al., 2013 and García Álvarez and Marías, 2013), this study seeks to fulfill two main objectives. Firstly, contributing to gaining an understanding of tourism and travel journalism, as well as enriching the history of the popular geography. The latter has traditionally been much less studied than academic geography and, nonetheless, it has exerted a greater impact than the scholarly one on the public image of geography in some respects, societies, and territories. Secondly, and equally important than the first point, enhancing the knowledge of Spain and the Spaniards recent image in the USA, the UK and France. This is an undoubtedly important question to address when it comes to considering, and better understanding, certain views and stereotypes that greatly influence the ideological, cultural, economic, and even geopolitical realm. Additionally, the outer geographical and travel images of a given country not only reflect the dominant ideas, interests, and perceptions in a specific moment, but they also influence the attitudes and policies toward that country from abroad. This research also goes deep into the processes of rupture and continuity of the Spanish external imaginary. That is to say, analyzing the genesis, the continued existence, and the evolution of those stereotypes concerning the Spanish environments, traditions, and human types through foreign viewpoints. The simpler the stereotypes for attracting the visitor's interest are, the more effective they proved to be. Although not false, but incomplete, these stereotypes might operate as tourist appeals, but they might also lead to simplifications and distortions that excessively stigmatize or idealize a given society. Furthermore, in the applied field, and specially in relation to the tourist policy, this research could be important because an accurate knowledge of both the positive and negative images about Spain conveyed by foreign mass media enables to assess and design new positioning strategies within the markets. At the same time, while fully respecting the Spanish culture projection and outreach, it also might help to revalue the tourism attractions of the country. In summary, by broadening the scope of analysis of the foreign perspectives from where Spain is imagined and perceived this research could increase the country's confidence in the political and the economic realm, as well as to pave the way for attracting future fluxes of foreign investments. ; Programa de Doctorado en Humanidades por la Universidad Carlos III de Madrid ; Presidente: Nicolás Ortega Cantero.- Secretario: Guillermo Morales Matos.- Vocal: João Carlos Dos Santos García

VANDA ARAMAVIČIŪTĖ – Habilitated doc­tor of Social Sciences (Education), Profes­sor at the Department of Education, Vilnius University. Research interests: general edu­cology, education and spiritual develop­ment of personality, methodology of educa­tional research. Address: 9/1 Universiteto Str., LT-01513 Vilnius, Lithuania; e-mail address: aramaviciute@gmail.comMARTYNA BAKAITĖ – Master student in Education at Vilnius University. Research interests: adult education, digital culture, language didactics. Address: 9/1 Univer­siteto Str., LT-01513 Vilnius, Lithuania; e-mail address: martyna.bakaitė@gmail.comJURATE ČERNEVIČIŪTĖ – Doctor of Hu­manities (Philosophy), Professor at the Department of Creative Entrepreneurship and Communication, Vilnius Gediminas Technical University. Research interests: communication, cultural and media studies, creative industries, innovations. Address: 26/1 Pylimo Str., LT-01132 Vilnius, Lithu­ania; e-mail address: jurate.cerneviciute@vgtu.ltMIGLĖ DOVYDAITIENĖ – Doctor of Social Sciences (Education), Lecturer at the De­partment of General Psychology, Vilnius University. Research interests: consultancy theory and practice, family crises preven­tion, short-term therapy, conflict resolution. Address: 9/1 Universiteto Str., LT-01513 Vilnius, Lithuania; e-mail address: migle.dovydaitiene@fsf.vu.ltLILIJA DUOBLIENĖ – Doctor of Social Sciences (Education), Professor and the Head of the Education Department, Vilnius University. Research interests: education philosophy, education policy, multicul­tural education. Address: 9/1 Universiteto Str., LT-01513 Vilnius, Lithuania; e-mail address: lilija.duobliene@fsf.vu.ltOLGA ILJINA – PhD student of Social Sciences (Education) at the Department of Edu­cation, Vilnius University. Research inter­ests: education sociology, social justice in education, grounded theory. Address: 9/1 Universiteto Str., LT-01513 Vilnius, Lithu­ania; e-mail address: olgailjina@gmail.comŽILVINAS JANČORAS – Head of Creative Innovation Lab, Vilnius Gediminas Techni­cal University. Research interests: creative industries, innovations, innovation management, business models. Address: 5-35 Linkmenų Str., Vilnius, Lithuania; e-mail address: zilvinas.jancoras@vgtu.ltALBINAS KALVAITIS – Doctor of Social Sciences (Sociology), Education Devel­opment Centre's methodologist. Research interests: education sociology, education management, general education. Address: 44 M. Katkaus Str., LT-09217 Vilnius, Lithuania; e-mail address: albinaskalvaitis@gmail.comRUSNĖ KREGŽDAITĖ – PhD student of So­cial Sciences (Economics); junior researcher at the Creative Innovation Lab, Vilnius Gediminas Technical University. Research interests: creative industries, economics of culture, econometrical analysis. Address: 5-35 Linkmenų Str., Vilnius, Lithuania; e-mail address: rusne.kregzdaite@vgtu.ltELVYDA MARTIŠAUSKIENĖ – Habilitated Doctor of Social Sciences (Education), Professor at Department of Education, Vilnius University of Educational Sciences. Research interests: general educology, methodology of moral and spiri­tual research. Address: 39 Studentų Str., LT-08106 Vilnius, Lithuania; e-mail address: martisauskiene@gmail.comVAIDAS MORKEVIČIUS – Doctor of Social Sciences (Sociology), Researcher at the Creative Innovation Lab, Vilnius Gedi­minas Technical University. Research interests: social survey, social science methods, qualitative comparative analysis, applied statistics and data analytics. Address: 5-35 Linkmenų Str., Vilnius, Lithuania; e-mail address: vaidas.morkevicius@vgtu.ltŽIGIMANTAS PEČIŪRA – Master student, Department of General Psychology, Vilnius University. Research interests: educational psychology, psychology of career. Address: 9/1 Universiteto Str., LT-01513 Vilnius, Lith­uania; e-mail address: zigpec@gmail.comVAIDA PLATKEVIČIŪTĖ – Student, De­partment of General psychology, Vilnius University. Address: 9/1 Universiteto Str., LT-01513 Vilnius, Lithuania.BIRUTĖ POCIŪTĖ – Doctor of Social Sciences (Psychology), Associate Professor at the Department of General Psychology, Vilnius University. Research interests: educational psychology, psychology of career choice, learning. Address: 9/1 Universiteto Str., LT-01513 Vilnius, Lithuania; e-mail address: birute.pociute@fsf.vu.ltGIEDRĖ JUDITA RASTAUSKIENĖ – Doctor of Social Sciences (Education), Lecturer at Department of Applied Biology and Reha­bilitation, Lithuanian Sports University. Re­search interests: socioeducational research analysis. Address: 6 Sporto Str., LT-44221 Kaunas, Lithuania; e-mail address:giedre.rastauskiene@gmail.comIRENA STONKUVIENĖ – Doctor of Social Sciences (Education), Associate Professor at the Department of the Education Depart­ment, Vilnius University. Research inter­ests: history of education, anthropology of education, education and culture, gender and education. Address: 9/1 Universiteto Str., LT-01513 Vilnius, Lithuania; e-mail address: irena.stonkuviene@fsf.vu.ltROLANDAS STRAZDAS – Doctor of Social Sciences (Management), Researcher at the Institute of Open Source Research, Associate Professor at the Mechanical Engineer­ing Department, Vilnius Gediminas Tech­nical University. Research interests: inno­vation management, process improvement, collective creativity, creative industries. Address: 11 Saulėtekio Ave., LT-10223 Vil­nius, Lithuania; e-mail address: rolandas.strazdas@vgtu.ltSAULIUS ŠUKYS – Doctor of Social Sciences (Education), Head of the Department of Health, Physical and Social Education, Lithuanian Sports University. Research in­terests: peculiarities of prosocial children behavior in physical activity. Address: 6 Sporto Str., LT-44221 Kaunas, Lithuania; e-mail address: saulius.sukys@lsu.ltMARIA TILK – Doctor of Social Sciences (Education), Associate Professor at the De­partment of Educational Sciences, Tallinn University. Research interests: history of education, narrative. Address: Uus-Sadama 5, Tallinn 10120, Estonia; e-mail address: maria.tilk@tlu.eeSVETLANA VASILIONOK – Master stu­dent in Education at Vilnius University. Research interests: Lithuanian language teaching in minority schools, Eastern phi­losophy, the visual arts in teaching and learning. Address: 9/1 Universiteto Str., LT-01513 Vilnius, Lithuania; e-mail address: svetlana.vasilionok@gmail.comEDITA VAINIENĖ – PhD student of Social Sciences (Education) of Sports and Move­ment Science Center, Lithuanian Sports University. Research interests: physical culture, identity of specialists of physical education and sports. Address: Sporto Str. 6, LT–44221 Kaunas, Lithuania; e-mail address: editavaina@gmail.comVITA VENSLOVAITĖ – Doctor of Social Sciences (Education), Lecturer at the De­partment of Education, Vilnius University. Research interests: philosophy of educa­tion, musical education, phenomenology in education. Address: 9/1 Universiteto Str., LT-01513 Vilnius, Lithuania; e-mail address: vitavensl@gmail.comCHARL C. WOLHUTER – Professor in Comparative and International Education, North-West University. Research interests: teaching of comparative education, theory of comparative education, teacher educa­tion, higher education in Africa. Address: North-West University Private Bag X 6001, Potchefstroom Campus, South Africa; e-mail address: Charl.Wolhuter@nwu.ac.zaRIMANTAS ŽELVYS – Habilitated Doctor of Social Sciences (Education), Professor at the Department of Education, Vilnius University. Research interests: education policy, education management, higher education. Address: 9/1 Universiteto Str., LT-01513 Vilnius, Lithuania; e-mail address: rimantas.zelvys@leu.lt ; VANDA ARAMAVIČIŪTĖ – socialinių moks­lų (edukologijos) habilituota daktarė, Vil­niaus universiteto Edukologijos katedros profesorė. Mokslinių interesų sritys: bendroji edukologija, ugdymas ir asmenybės dvasinis brendimas, ugdymo tyrimų me­todologija. Adresas: Universiteto g. 9/1, LT-01513 Vilnius. El. paštas: aramaviciu­te@gmail.comMARTYNA BAKAITĖ – Vilniaus universiteto Edukologijos katedros magistrantė. Moks­linių interesų sritys: suaugusiųjų švietimas, skaitmeninė kultūra, kalbų didaktika. Adre­sas: Universiteto g. 9/1, LT-01513 Vilnius. El. paštas: martyna.bakaitė@gmail.comMIGLĖ DOVYDAITIENĖ – socialinių moks­lų (psichologijos) daktarė, Vilniaus univer­siteto Bendrosios psichologijos katedros lektorė. Mokslinių interesų sritys: konsulta­vimo teorija ir praktika, šeimos krizių pre­vencija, trumpalaikė terapija, streso įveika, konfliktų sprendimas. Adresas: Universiteto g. 9/1, LT-01513 Vilnius. El. paštas: migle.dovydaitiene@fsf.vu.ltLILIJA DUOBLIENĖ – socialinių mokslų (edukologijos) daktarė, Vilniaus universiteto Edukologijos katedros profesorė. Mokslinių interesų sritys: ugdymo filosofija, švietimo politika, tarpkultūrinis ugdymas, medijų raš­tingumo ugdymas. Adresas: Universiteto g. 9/1, LT-01513 Vilnius. El. paštas: lilija.duo­blienė@fsf.vu.ltJŪRATĖ ČERNEVIČIŪTĖ – humanitarinių mokslų (filosofijos) daktarė, Vilniaus Ge­dimino technikos universiteto Kūrybos verslo ir komunikacijos katedros profeso­rė. Mokslinių interesų sritys: komunikaci­ja, kultūros ir medijų studijos, kūrybinės industrijos, inovacijos. Adresas: Pylimo g. 26/1, LT-01132 Vilnius. El. paštas: jurate.cerneviciute@vgtu.ltOLGA ILJINA – Vilniaus universiteto Edu­kologijos katedros doktorantė. Mokslinių interesų sritys: švietimo sociologija, socia­linis teisingumas ugdant, grindžiamoji teo­rija. Adresas: Universiteto g. 9/1, LT-01513 Vilnius. El. paštas: olgailjina@gmail.comŽILVINAS JANČORAS – Vilniaus Gedimino technikos universiteto Kūrybinių inovacijų laboratorijos vedėjas. Mokslinių interesų sri­tys: kūrybinės industrijos, inovacijos, inova­cijų vadyba, verslo modeliai. Adresas: Linkmenų g. 5-35, Vilnius. El. paštas: zilvinas.jancoras@vgtu.ltALBINAS KALVAITIS – socialinių mokslų (sociologija) daktaras, Ugdymo plėtotės centro metodininkas. Mokslinių interesų sritys: švietimo sociologija, švietimo vady­ba, bendrasis ugdymas. Adresas: M. Kat­kaus g. 44, LT-09217 Vilnius. El. paštas: albinaskalvaitis@gmail.comRUSNĖ KREGŽDAITĖ – socialinių mokslų (ekonomikos) doktorantė, Vilniaus Ge­dimino technikos universiteto Kūrybinių inovacijų laboratorijos jaunesnioji mokslo darbuotoja. Mokslinių interesų sritys: kū­rybinės industrijos, kultūros ekonomika, ekonometrinė analizė. Adresas: Linkmenų g. 5-35, Vilnius. El. paštas: rusne.kregzdai­te@vgtu.ltELVYDA MARTIŠAUSKIENĖ – socialinių mokslų (edukologijos) habilituota daktarė, Lietuvos edukologijos universiteto Eduko­logijos katedros profesorė. Mokslinių in­teresų sritys: bendroji edukologija, dorinis ugdymas, dvasingumo tyrimų metodologi­ja. Adresas: Studentų g. 39, LT-08106 Vil­nius. El. paštas: martisauskiene@gmail.comVAIDAS MORKEVIČIUS – socialinių mokslų (sociologijos) daktaras, Vilniaus Gedimino technikos universiteto Kūrybinių inovacijų laboratorijos mokslo darbuotojas. Moks­linių interesų sritys: socialinės apklausos, socialinių tyrimų metodai, kokybinė lygi­namoji analizė, taikomoji statistika ir duomenų analizė. Adresas: Linkmenų g. 5-35, Vilnius. El. paštas: vaidas.morkevicius@vgtu.ltBIRUTĖ POCIŪTĖ – socialinių mokslų (psi­chologijos) daktarė, Vilniaus universiteto Bendrosios psichologijos katedros docentė. Mokslinių interesų sritys: pedagoginė psi­chologija, karjeros psichologija, mokyma­sis. Adresas: Universiteto g. 9/1, LT-01513 Vilnius. El. paštas: birute.pociute@fsf.vu.ltŽIGIMANTAS PEČIŪRA – Vilniaus univer­siteto Bendrosios psichologijos katedros magistrantas. Adresas: Universiteto g. 9/1, LT-01513 Vilnius. El. paštas zigpec@gmail.comVAIDA PLATKEVIČIŪTĖ – Vilniaus univer­siteto Bendrosios psichologijos katedros studentė. Adresas: Universiteto g. 9/1, LT-01513 Vilnius.GIEDRĖ JUDITA RASTAUSKIENĖ – sociali­nių mokslų (edukologija) daktarė, Lietuvos sporto universiteto Taikomosios biologijos ir reabilitacijos katedros lektorė. Moksli­nių interesų sritys: socioedukacinių tyrimų analizė. Adresas: Sporto g. 6, LT-44221 Kaunas. El. paštas: giedre.rastauskiene@gmail.comIRENA STONKUVIENĖ – socialinių mokslų (edukologijos) daktarė, Vilniaus universi­teto Edukologijos katedros docentė. Moks­linių interesų sritys: pedagogikos istorija, ugdymo antropologija, ugdymas ir kultūra, ugdymas ir lytis. Adresas: Universiteto g. 9/1, LT-01513 Vilnius. El. paštas: irena.stonkuvienė@fsf.vu.ltROLANDAS STRAZDAS – socialinių mokslų (vadyba) daktaras, Vilniaus Gedimino tech­nikos universiteto Atvirojo kodo instituto mokslo darbuotojas, Mechanikos inžineri­jos katedros docentas. Mokslinių interesų sritys: inovacijų valdymas, procesų tobu­linimas, kolektyvinis kūrybiškumas, kūry­binės industrijos. Adresas: Saulėtekio al. 11, LT-10223 Vilnius. El. paštas: rolandas.strazdas@vgtu.ltSAULIUS ŠUKYS – socialinių mokslų (edu­kologijos) daktaras, Lietuvos sporto uni­versiteto Sveikatos, fizinio ir socialinio ug­dymo katedros vedėjas. Mokslinių interesų sritys: vaikų prosocialaus elgesio sportinėje veikloje ypatumai. Adresas: Sporto g. 6, LT-44221 Kaunas. El. paštas: saulius.su­kys@lsu.ltMARIA TILK – socialinių mokslų (edukologi­jos) daktarė, Talino universiteto Edukolo­gijos katedros docentė. Mokslinių interesų sritys: pedagogikos istorija, naratyvas. Adresas: Uus-Sadama 5, Tallinn 10120, Estija. El. paštas: maria.tilk@tlu.eeEDITA VAINIENĖ – Lietuvos sporto univer­siteto Sporto ir judesių mokslo centro dok­torantė. Mokslinių interesų sritys: universi­tetinės kūno kultūros studijos, disciplininis identitetas. Adresas: Sporto g. 6, LT-44221 Kaunas. El. paštas: editavaina@gmail.comSVETLANA VASILIONOK – Vilniaus univer­siteto Edukologijos katedros magistrantė. Mokslinių interesų sritys: lietuvių kalbos mokymas tautinių mažumų mokyklose, Rytų filosofija, vizualinių menų taikymas mokymo(si) metu. Adresas: Universiteto g. 9/1, LT-01513 Vilnius. El. paštas: svetlana.vasilionok@gmail.comVITA VENSLOVAITĖ – socialinių mokslų (edukologijos) daktarė, Vilniaus universi­teto Edukologijos katedros lektorė. Moks­linių interesų sritys: ugdymo filosofija, mu­zikinis ugdymas, fenomenologija ugdyme. Adresas: Universiteto g. 9/1, LT-01513 Vil­nius. El. paštas: vitavensl@gmail.comCHARL C. WOLHUTER – socialinių moks­lų (edukologijos) daktaras lyginamosios edukologijos ir tarptautinio švietimo pro­fesorius. Mokslinių interesų sritys: lygina­mosios edukologijos mokymas, lyginamo­sios edukologijos teorija, mokytojų rengi­mas, aukštasis mokslas Afrikoje. Adresas: North-West University, Private Bag X 6001, Potchefstroom Campus, South Afri­ca. El. paštas: Charl.Wolhuter@nwu.ac.zaRIMANTAS ŽELVYS – socialinių mokslų (edukologijos) habilituotas daktaras, Vil­niaus universiteto Edukologijos katedros profesorius. Mokslinių interesų sritys: švietimo politika, švietimo vadyba, aukšta­sis mokslas. Adresas: Universiteto g. 9/1, LT-01513 Vilnius. El. paštas: rimantas.zel­vys@leu.lt

Aquest número comença amb l´article de Mireia Alcón i José Luis Menéndez sobre el paradigma de l´avaluació autèntica i la contribució específica de les rúbriques al disseny i implantació de sistemes d´avaluació coherents amb el paradigma esmentat. La literatura especialitzada ha insistit en la vinculació de l´avaluació autèntica amb la idea d´una avaluació posada al servei de l´aprenentatge. Així ho demostra l´èmfasi en que l´avaluació se centri en l´acompliment dels estudiants respecte de problemes rellevants en entorns socials i professionals. També, l´èmfasi en que l´avaluació estigui alineat amb els altres components del context educatiu donat que, sense aquesta coherència, és impossible aconseguir els aprenentatges que suposa una educació basada en competències. Tanmateix, hom ha insistit menys en el potencial que té l´avaluació autèntica per reorganitzar l´activitat docent del professorat i per a la millora dels currículums. Aquest model requereix una reflexió compartida del professorat sobre l´àmbit professional i la pròpia cultura acadèmica de la disciplina, sobre el perfil del titulat, sobre els objectius d´aprenentatge i llur integració coherent en el pla d´estudis, i sobre els entorns didàctics més adequats per tal que l´estudiant assoleixi els resultats previstos. Perquè només des d´aquesta perspectiva pot implantar-se una avaluació autèntica. En l´article, els autors insisteixen en una idea similar en relació amb les rúbriques. A banda d´ésser instruments d´avaluació, aquestes han d´ésser considerades també recursos educatius que permetin a l´estudiant enjudiciar i resoldre problemes importants del seu àmbit disciplinari en diàleg constant amb els seus companys i professors. Pel professorat, el disseny i la utilització de rúbriques són un motiu d´anàlisi i discussió concret, però activen simultàniament una consciència més profunda i una major responsabilitat sobre la seva pràctica professional. L´autenticitat segueix present en l´article d´Eva Gregori sobre la validesa d´un model de carpeta d´aprenentatge utilitzat en el grau de Belles Arts. La validesa no és una condició suficient per afirmar l´autenticitat d´un sistema d´avaluació, però sí que en constitueix una de les seves condicions necessàries. Un sistema d´avaluació pot ésser perfectament vàlid perquè les inferències que genera respecte els aprenentatges dels estudiants són adequades i útils per aconseguir aquests aprenentatges. No obstant, aquest sistema d´avaluació pot valorar resultats d´aprenentatge que no són rellevats en contextos socioprofessionals reals. De fet, la transferència i generalització dels judicis vàlids sobre l´aprenentatge dels estudiants depèn de la pertinença, importància, amplitud i profunditat dels citats aprenentatges, cosa que confereix interès a aquells judicis vàlids en contextos educatius més amplis. L´autora aborda l´assumpte des de la perspectiva contrària: d´acord amb la literatura especialitzada, reconeix l´autenticitat de la carpeta per ser un recurs en el que l´estudiant justifica i exemplifica el seu procés i resultats d´aprenentatge per, acte seguit, demostrar la validesa del model de carpeta emprat. L`anàlisi inclou un examen dels constructes en els quals es va organitzar la carpeta i de la seva consistència interna, per demostrar la coherència amb els objectius d´aprenentatge i la seva adequació al context educatiu. Un examen de la càrrega de treball dels estudiants en llur elaboració i de les qualificacions obtingudes li serveixen per justificar la seva adequació al perfil de l´estudiant de nou ingrés en la titulació analitzada. L´assumpte de l´avaluació autèntica està també implícit en l´article de María Isabel Arbesú i Leticia Reyes sobre l´eficàcia docent. Per bé que l´article se circumscriu a un estudi de la percepció que tenen estudiants de grau i postgrau de ciències i arts per al disseny, aquest estudi forma part d´una investigació més àmplia que involucra altres actors del sistema educatiu. Investigacions d´aquesta mena són encara més importants en l´actualitat, quan la literatura especialitzada ha plantejat seriosos dubtes sobre la validesa i fiabilitat de les enquestes habituals sobre la qualitat docent, i quan hom reafirma la tendència a descarregar exclusivament en les espatlles del professorat la responsabilitat d´uns resultats educatius insuficients. És significatiu que l´anàlisi no versi sobre l´eficiència del professor sinó sobre l´eficàcia; és a dir, l´adequació dels resultats de l´activitat del professorat al paper que han de jugar en la institució educativa, i que no és altre que el de generar oportunitats d´aprenentatge pels seus estudiants. En aquest sentit, és de particular interès que els propis estudiants identifiquin dimensions d´avaluació que no acostumen a recollir-se en els qüestionaris. De confirmar-se això, aquests resultats subratllarien un cop més el risc cert d´incórrer en insuficiències que posarien en entredit la validesa d´aquests instruments. D´aquesta manera, hom posa de manifest com els problemes de validesa menyscaben l´autenticitat del sistema avaluador. Els dos darrers articles provenen de l´àmbit de la Teoria de l´Art. El signat per Bibiana Crespo realitza un decurs històric del concepte de dibuix des de l´antiguitat greco-romana fins a les avantguardes històriques. No s´ha de cercar una anàlisi exhaustiva de les reflexions d´artistes i teòrics sobre el tema, cosa impossible en un article; l´autora es basa en una selecció de textos de diferents èpoques per a demostrar la presència d´un fil condcutor en la idea de dibuix com activitat intel•lectual i com aquesta idea va evolucionant en els diferents períodes de la història de l´art. Sobre aquesta base, s´afirma el valor específic del dibuix com a art, però també el seu paper rellevant com activitat artística i, en aquest sentit, la seva contribució a la resta de les arts plàstiques. En l´article s´observen les relacions canviants entre els diferents aspectes del dibuix segons hom consideri la seva relació amb la naturalesa; la seva relació amb les altres arts plàstiques; amb la pròpia activitat mental de l´artista i el seu correlat amb el procés d´ideació, d´una banda, i amb el d´execució de l´altra; amb el seu vincle amb diferents facultats mentals –sigui l´intel•lecte, la intuïció, la imaginació, l´enginy o el sentiment–; o amb la seva pròpia naturalesa lingüística que esdevé motiu central de reflexió en el tram final de la modernitat. L´article de Ricard Ramon adopta l´enfocament més sociològic dels estudis de cultura visual per examinar el paper desenvolupat per l´art i el discurs artístic en les estratègies de legitimació i en les campanyes publicitàries de les principals empreses i corporacions. L´autor presenta el cas de l´empresa de ceràmica Lladró per a plantejar l´existència de relacions entre la seva activitat industrial i comercial, el seu interès en el col•leccionisme d´obres d´art, la col•laboració amb reconeguts especialistes del camp de la història de l´art i la creació del propi museu Lladró. L´interès de l´article rau en que el seu objecte d´estudi està molt poc tractat en el camp de la Història de l´Art perquè, des d´una concepció tradicional de la disciplina, aquest objecte queda fora del seu àmbit. És innegable que una de les funcions que l´art ha exercit històricament és ser mitjà de representació i legitimació pública dels valors i grups de poder dominants. Tanmateix, en les societats democràtiques avançades, concorren aspectes nous que suposen un salt qualitatiu. La qüestió rau en el procés d´acceleració històrica, les conseqüències de la naturalesa tecnològica de la societat de la informació i comunicació, i la crisi d´altres metarelats que fan de contrapès als arguments exclusivament econòmics. Tot plegat explica la proliferació de les interferències entre els discursos i fenòmens artístics, aquells altres que es desenvolupen en el disseny i la publicitat, i els interessos comercials i financers del món dels negocis. Aquest fet dóna especial rellevància al debat sobre els límits i les juxtaposicions entre aquests discursos i interessos, sobre llurs diferències i finalitats respectives, i sobre les repercussions recíproques que tindran en cadascun d´aquests àmbits. ; This issue begins with an article by Mireia Alcón and Jose Luis Menendez on the paradigm of authentic assessment and the specific contribution of rubrics to the design and implementation of assessment systems within this paradigm. The specialist literature strongly advocates the linking of authentic assessment with the idea of assessment at the service of learning. For example, it emphasizes the fact that assessment should focus on students' performance with respect to relevant problems in social and professional settings, and also that assessment should be closely aligned with the other components of the educational context because otherwise it is impossible to achieve the learning that a competency-based education requires. However, less attention has been paid to the potential of authentic assessment to reorganize teaching activities and improve curricula. A model of this requires a shared reflection of teachers on their professional environment and the academic culture of the discipline, on the graduate profile, on learning objectives and their integration into the curriculum, and on the learning environments that can help students to obtain the desired results. Only from this perspective can an authentic assessment be put in place. In the article, the authors put forward a similar idea in relation to rubrics. Besides being assessment tools, rubrics should be considered as educational resources that allow students to tackle important problems in their discipline, in constant dialogue with peers and teachers. For teachers, the design and use of rubrics is a source of analysis and discussion, but simultaneously activates a deeper awareness and a greater collective responsibility for their professional practice. The question of authenticity is also present in the article by Eva Gregori on the validity of a learning portfolio model used in the degree of Fine Arts. Validity is not a sufficient condition to affirm the authenticity of an assessment system, but it is a necessary component. An assessment system can be perfectly valid because the inferences it generates regarding students' learning are appropriate and useful for this learning; however, it may evaluate learning outcomes that are not relevant to real socioprofessional contexts. The transfer and generalization of valid judgments on students' learning depends on the relevance, breadth and depth of this learning. The author addresses the issue from the opposite perspective: in accordance with the specialist literature, she recognizes the authenticity of the portfolio as a resource in which students justify and exemplify the learning process and results, and then demonstrates the validity of the portfolio model used. The analysis includes an examination of the constructs in which the portfolio was organized and its internal consistency in order to demonstrate its suitability with regard to the learning objectives and its relevance in the educational context. On the basis of a review of students' workload in the preparation of the portfolio and of the test scores obtained, the author concludes that the portfolio is a highly useful instrument for students in the first years of the Fine Arts degree. The issue of authentic assessment is also implicit in the article by Maria Isabel Arbesú and Leticia Reyes on teacher effectiveness. Although the article is limited to a study of the perceptions of science and fine arts undergraduates and graduates, the study is part of a wider investigation involving other actors in the education system. Investigations of this type are particularly important today, at a time when the specialist literature has raised serious questions about the validity and reliability of the surveys currently used to assess teaching quality, and when there is a tendency to lay all the responsibility for poor educational outcomes at the door of the teachers. Significantly, the analysis does not focus on teachers' efficiency but on their effectiveness; that is, the relevance of the results of their activity to the role they should play in the school, that is, to generate learning opportunities for their students. In this context, it is particularly important that the students themselves identify dimensions of assessment which are not usually included in questionnaires. If confirmed, these results underline once again the risk of certain deficiencies that call into question the validity of these instruments. Thus, it becomes clear how problems of validity undermine the authenticity of the assessment system. The last two articles are from the field of art theory. The piece by Bibiana Crespo takes a historical view of the concept of drawing, from the Graeco-Roman world until the early-20th-century avant-garde movement. An exhaustive analysis of the reflections of artists and theorists on the subject would be beyond the scope of the article; the author bases her contribution on a selection of texts from different periods to demonstrate the presence of an underlying thread in the idea of drawing as an intellectual activity and to trace the evolution of this in different periods of art history. On this basis, she affirms the specific value of drawing as art, but also stresses its important role as an artistic activity and, in this respect, its contribution to the rest of the Fine Arts. The article reflects the changing relationships between different aspects of drawing according to a consideration of their relationship with nature; its relationship with the other arts; its relationship with the artist's mental activity and its correlation with the process of ideation on the one hand and with the process of execution on the other; its link with various mental faculties such as the intellect, intuition, imagination, ingenuity or feeling; and with its own linguistic nature which becomes the central cause for reflection in the final stage of modernity. Ricard Ramon article adopts a more sociological approach to the studies of visual culture to examine the role of art and artistic discourse in the strategies of legitimation and advertising campaigns of major companies and corporations. The author presents the case of Lladró, the ceramics company, to exemplify the existence of relations between its industrial and commercial activities, its interest in collecting works of art and in collaborating with renowned experts in the field of art history, and the creation of the Lladró museum. The article is important because its subject lies outside the scope of the traditional conception of art history and has been largely neglected inside the discipline. It is undeniable that one of art's historical functions has been as a means of representation and public legitimation of the dominant values and power groups inside a community. However, in advanced democratic societies, new aspects come together that represent a qualitative leap forward. The key lies in the process of historical acceleration, the consequences of the technological nature of the information and communication society, and the crisis of other metanarratives that act as a counterweight to the purely economic arguments. All this explains the proliferation of interferences between artistic discourses and phenomena, other discourses that are at work in design and advertising, and the commercial and financial interests of the business world. This confers special relevance on the debate about the limits and juxtapositions between these discourses and interests, their differences and their respective aims, and on the reciprocal repercussions that they have in each of these areas. ; Este número comienza con el artículo de Mireia Alcón y José Luis Menéndez sobre el paradigma de la evaluación auténtica y la contribución específica de las rúbricas al diseño e implantación de sistemas de evaluación coherentes con dicho paradigma. La literatura especializada ha insistido en la vinculación de la evaluación auténtica con la idea de una evaluación puesta al servicio del aprendizaje. Así lo demuestra el énfasis en que la evaluación se centre en el desempeño de los estudiantes respecto de problemas relevantes en entornos sociales y profesionales. También, el énfasis en que la evaluación esté alineada con los otros componentes del contexto educativo puesto que, sin esta coherencia, es imposible alcanzar los aprendizajes que supone una educación basada en competencias. Sin embargo, se ha insistido menos en el potencial que tiene la evaluación auténtica para reorganizar la actividad docente del profesorado y para la mejora de los currículos. Dicho modelo requiere una reflexión compartida del profesorado sobre el ámbito profesional y la propia cultura académica de la disciplina, sobre el perfil del egresado, sobre los objetivos de aprendizaje y su integración coherente en el plan de estudios, y sobre los entornos didácticos más adecuados para que el estudiante alcance los resultados previstos. Porque solo desde esta perspectiva puede implantarse una evaluación auténtica. En el artículo, los autores insisten en una idea similar en relación con las rúbricas. Además de ser instrumentos de evaluación, estas deben ser consideradas también recursos educativos que permitan al estudiante enjuiciar y resolver problemas importantes de su ámbito disciplinario en diálogo constante con sus compañeros y profesores. Para el profesorado, el diseño y la utilización de rúbricas son un motivo de análisis y discusión concreto, pero activan simultáneamente una conciencia más profunda y una mayor responsabilidad colectiva sobre su práctica profesional. La autenticidad sigue presente en el artículo de Eva Gregori sobre la validez de un modelo de carpeta de aprendizaje utilizado en el grado de Bellas Artes. La validez no es una condición suficiente para afirmar la autenticidad de un sistema de evaluación, pero sí que constituye una de sus condiciones necesarias. Un sistema de evaluación puede ser perfectamente válido porque las inferencias que genera respecto de los aprendizajes de los estudiantes son adecuadas y útiles para conseguir tales aprendizajes. Sin embargo, ese sistema de evaluación puede valorar resultados de aprendizaje que no son relevantes en contextos socioprofesionales reales. De hecho, la transferencia y generalización de los juicios válidos sobre el aprendizaje de los estudiantes depende de la pertinencia, importancia, amplitud y profundidad de tales aprendizajes, lo que confiere interés a aquellos juicios válidos en contextos educativos más amplios. La autora aborda el asunto desde la perspectiva contraria: de acuerdo con la literatura especializada, reconoce la autenticidad de la carpeta por ser un recurso en el que estudiante justifica y ejemplifica su proceso y resultados de aprendizaje para, a continuación, demostrar la validez del modelo de carpeta empleado. El análisis incluye un examen de los constructos en que se organizó la carpeta y de su consistencia interna, para demostrar su coherencia con los objetivos de aprendizaje y su adecuación al contexto educativo. Un examen de la carga de trabajo de los estudiantes en su elaboración y de las calificaciones obtenidas le sirven para justificar su adecuación al perfil del estudiante de reciente ingreso en la titulación analizada. El asunto de la evaluación auténtica está también implícito en el artículo de María Isabel Arbesú y Leticia Reyes sobre la eficacia docente. Aunque el artículo se circunscribe a un estudio de la percepción que tienen estudiantes de grado y posgrado de ciencias y artes para el diseño, dicho estudio forma parte de una investigación más amplia que involucra otros actores del sistema educativo. Investigaciones de este tipo son aun más importantes en la actualidad, cuando la literatura especializada ha planteado serias dudas sobre la validez y fiabilidad de las encuestas al uso sobre la calidad docente, y cuando se reafirma la tendencia de descargar exclusivamente en los hombros del profesorado la responsabilidad de unos resultados educativos insuficientes. Es significativo que el análisis no verse sobre la eficiencia del profesor sino sobre la eficacia; esto es, la adecuación de los resultados de la actividad del profesorado al papel que deben desempeñar en la institución educativa, y que no es otro que generar oportunidades de aprendizaje para sus estudiantes. En este sentido, es de particular interés que los propios estudiantes identifiquen dimensiones de evaluación que no acostumbran a estar recogidas en los cuestionarios. De confirmarse, estos resultados subrayarían una vez más el riesgo cierto de incurrir en insuficiencias que pondrían en entredicho la validez de estos instrumentos. De este modo, se pone de manifiesto cómo los problemas de validez menoscaban la autenticidad del sistema evaluador. Los dos últimos artículos provienen del ámbito de la Teoría del Arte. El firmado por Bibiana Crespo realiza un decurso histórico del concepto del dibujo desde la antigüedad greco-romana hasta las vanguardias históricas. No hay que buscar un análisis exhaustivo de las reflexiones de artistas y teóricos sobre el tema, cosa imposible en un artículo; la autora se basa en una selección de textos de diferentes épocas para demostrar la presencia de un hilo conductor en la idea de dibujo como actividad intelectual y como esta idea va evolucionando en los diferentes períodos de la historia del arte. Sobre esta base, se afirma el valor específico del dibujo como arte, pero también su papel relevante como actividad artística y, en este sentido, su contribución al resto de las artes plásticas. En el artículo se observan las relaciones cambiantes entre los diferentes aspectos del dibujo según se considere su relación con la naturaleza; su relación con las otras artes plásticas; con la propia actividad mental del artista y su correlato con el proceso de ideación, por un lado, y con el de ejecución por el otro; con su vínculo con diferentes facultades mentales –sea el intelecto, la intuición, la imaginación, el ingenio o el sentimiento–; o con su propia naturaleza lingüística que pasa a ser motivo central de reflexión en el tramo final de la modernidad. El artículo de Ricard Ramon adopta el enfoque más sociológico de los estudios de cultura visual para examinar el papel desempeñado por el arte y el discurso artístico en las estrategias de legitimación y en las campañas publicitarias de las principales empresas y corporaciones. El autor presenta el caso de la empresa de cerámica Lladró para plantear la existencia de relaciones entre su actividad industrial y comercial, su interés en el coleccionismo de obras de arte, la colaboración con reconocidos especialistas del campo de la historia del arte y la creación del propio museo Lladró. El interés del artículo radica en que su objeto de estudio está muy poco tratado en el campo de la Historia del Arte porque, desde una concepción tradicional de la disciplina, dicho objeto queda fuera de su ámbito. Es innegable que una de las funciones que el arte ha desempeñado históricamente es ser medio de representación y legitimación pública de los valores y grupos de poder dominantes. Sin embargo, en las sociedades democráticas avanzadas, concurren aspectos nuevos que suponen un salto cualitativo. La clave radica en el proceso de aceleración histórica, las consecuencias de la naturaleza tecnológica de la sociedad de la información y comunicación, y la crisis de otros metarrelatos que actúan de contrapeso ante los argumentos exclusivamente económicos. Todo ello explica la proliferación de las interferencias entre los discursos y fenómenos artísticos, aquellos otros que se desarrollan en el diseño y la publicidad, y los intereses comerciales y financieros del mundo de los negocios. Este hecho confiere especial relevancia al debate sobre los límites y las yuxtaposiciones entre estos discursos e intereses, sobre sus diferencias y fines respectivos, y sobre las repercusiones recíprocas que tendrán en cada uno de estos ámbitos.

The purpose of this M.A. thesis is to research a hypothetical possibillity of building a metropolitan system in the city of Vilnius. For many years the idea of Vilnius Metro has been already escalated from engineerical, economical, ecological, political point of views, nethertheless, there is no data about Lithuanian artists showing major interest in this theme. Metro stations still are unseen kind of public spaces in Lithuania, that's why a newly built metro could possibly foster our artists' imagination. During my M.A. research I was trying to find new aspects of this phenomenon who could give an additional impulse to the artists of various fields. A metro system is about permanent transit which continouos energy stream is created by people, traffic participants. Moving masses create a common – mass – emotion and they are impacted by a distinctive esthetics and ruled by the sum of signs. Basing myself upon Michele Foucoult space philosphy ideas, the interpretation of symbol language by Ernst Gombrich, Paul Johaness Tillich and other authors, also by deep rooted collective experience, which historically could be explained by a Christian theology narrative, I was looking for my own senses and resources of artistical expressions under the ground. By disclosing the best metro examples and my own theoretical considerations I am trying to prove that a metro system is a society's mirror and the reflectors are underground platforms, stations and visual expressions of metro entries. There are innumerable objective and subjective connections in a metro system, but my major survey method is an empirical study, id est observing of already existing objects and analysing them, searching for relevant and common aspects and derivative interactions (?). In order to comprehend how metro systems are created, developed and later on kept on functioning I have analysed several metropolitans in different countries and found out that a metro is a very sensitive system, reflecting economical, social and cultural aspects of a society. I am glad I have managed to percieve its universal problems and their solutions. Those countries have inspiringly huge amount of artworks in their public metro spaces and one should notice the abundance of ideas and the quality of their implementations there. So there is no wonder that those countries with such metros usually have a special organization taking care of a city's metro and its public spaces. In my M.A. thesis I discuss the best example of such an organization that is, in my consideration, the Metropolitan Transportation Authority in New York. At the end of XX century it was created mainly to help NY Subway system to get rid of its negative image and save this rapid transit system from collapsing. The heads of MTA very early understood that it was a good idea invest not only in design but art, as well. Since 1985 MTA's Arts and Design Program has invited almost three hundred young and prominent artists to put into reality their creative ideas in 260, almost a half of all NY metro stations. That is why NY Subway has a right now to present itself as the world's biggest public art museum under the ground. Another inspiring example is Stokholm. At the second half of XX century Swedish artists successfully managed a completely new project to them in Stokholm underground and proudly proved that art can be very democratic and artists can work in collaboration with other specialists as engineers, architects and workers. Decades after decades Stokholm metro slowly built a 110 km length underground art gallery. Stokholm metro art no longer belongs exceptionally to the Swedes, the sound of their capital's unique underground system and its images has already spread all over the globe. It has to be said – the winners of Stokholm's metro are all Swedes and every artist in this country. Swedish art curator Göran Söderström in his book Art Goes Uderground, which I can already name as my basic table book, calls Stokholm metro "a utilitarian, literally". He along all the authors of this book explain every aspect of Stokholm metro: from a need to build it, as well as planning and engineering it, to a society's needs and opinions and detailed descriptions of all stations with artworks and presentation of their creating history and philosophy. Utilitarian point of view is very distinct in all the examples presented in my M.A. thesis. One couldn't find a negative artwork or negative context anywhere in metros. Perhaps it is a common secret publicly kept in silence. If somebody decided to come up with a destructive idea, probably it would be rejected because of responsibility for a huge audience, millions of people everyday travelling rapid transit trains. Open, anonymous, unregulated public spaces naturally become a scene for social expression, especially it is true in transit zone spaces. If I discuss the esthetics in art decorated metro stations, I should discuss the space before the occurance of this estethics, I guess. My opionion of graffiti, at times irritating, at times positive phenomenon for me, is very well represented in a book about graffiti's (im)propriety called Inopinatum, written by young scholars in Rome. I could only admit that the works of street artists as Banksy, Blu, Os Gemeos become organic part of a facade and immediately create an urban value to it. And on the contrary, messy, dirty, damaged and tagged public metro space is inducing so called broken windows syndrome. My object of interest – Vilnius Metro – does not exist. Its inexestance or, in other words, the imaginery existance, became the major problem of my M.A. survey. My interest in possibility to build Vilnius metropolitan started with already existing strategy of the city. M. De Certeau ideas prompted me that my metro could be reflected from the point of view of a tactitian. Vilnius metro idea creators already have several schemes and metro line junctions. It was interesting to study them and evaluating their correspondence with my expectations as a tactitian. An organic metro line net reminds me of a plant root system, a huge battery placed under the city and providing it with energy. Cities with metros remind me of a human body that is vital, vibrant and forever young. My meeting with Vilnius metro planners and conversations with them could have become a small play of its own or extend the practical part of my M.A. thesis. Sadly, I have to admit that very important topic of Vilnius city landed in the hands of lobbyists and their "life mission" to build a metro is nothing more as a selfish search for a lucrative way to dig under Vilnius ground. As soon as I found it, I decided to look for data of this subject by myself and stop using the data supplied from the Destorted Looking-Glass Land of Vilnius metro lobbyists. For months attentively studying Vilnius city structure and its maps I have built a Vilnius metro scheme of my own. Along these studies I have been reading Tomas Venclova books. I trusted this Vilnius researcher, as well as his experience and insights. His idea about Vilnius, which fascinated me the most, was that Vilnius old town reminded anatomical heart. So I looked precisely at the contor map of Vilnius old town made by Vilnius municipality and I was astonished at how right and precise Tomas Venclova was, only several percent of the old town had not fitted into the contour. And not only this, Vilnius old town resembled an actual anatomical heart with its venous and arterial blood vessels taking all nutrients needed form the rivers Neris and Vilnelė. So that is how my city started – from the heart. Vilnius city anatomy with metro stations, that are still waiting for being created and given significance. It seems quite a good idea to me.

The purpose of this M.A. thesis is to research a hypothetical possibillity of building a metropolitan system in the city of Vilnius. For many years the idea of Vilnius Metro has been already escalated from engineerical, economical, ecological, political point of views, nethertheless, there is no data about Lithuanian artists showing major interest in this theme. Metro stations still are unseen kind of public spaces in Lithuania, that's why a newly built metro could possibly foster our artists' imagination. During my M.A. research I was trying to find new aspects of this phenomenon who could give an additional impulse to the artists of various fields. A metro system is about permanent transit which continouos energy stream is created by people, traffic participants. Moving masses create a common – mass – emotion and they are impacted by a distinctive esthetics and ruled by the sum of signs. Basing myself upon Michele Foucoult space philosphy ideas, the interpretation of symbol language by Ernst Gombrich, Paul Johaness Tillich and other authors, also by deep rooted collective experience, which historically could be explained by a Christian theology narrative, I was looking for my own senses and resources of artistical expressions under the ground. By disclosing the best metro examples and my own theoretical considerations I am trying to prove that a metro system is a society's mirror and the reflectors are underground platforms, stations and visual expressions of metro entries. There are innumerable objective and subjective connections in a metro system, but my major survey method is an empirical study, id est observing of already existing objects and analysing them, searching for relevant and common aspects and derivative interactions (?). In order to comprehend how metro systems are created, developed and later on kept on functioning I have analysed several metropolitans in different countries and found out that a metro is a very sensitive system, reflecting economical, social and cultural aspects of a society. I am glad I have managed to percieve its universal problems and their solutions. Those countries have inspiringly huge amount of artworks in their public metro spaces and one should notice the abundance of ideas and the quality of their implementations there. So there is no wonder that those countries with such metros usually have a special organization taking care of a city's metro and its public spaces. In my M.A. thesis I discuss the best example of such an organization that is, in my consideration, the Metropolitan Transportation Authority in New York. At the end of XX century it was created mainly to help NY Subway system to get rid of its negative image and save this rapid transit system from collapsing. The heads of MTA very early understood that it was a good idea invest not only in design but art, as well. Since 1985 MTA's Arts and Design Program has invited almost three hundred young and prominent artists to put into reality their creative ideas in 260, almost a half of all NY metro stations. That is why NY Subway has a right now to present itself as the world's biggest public art museum under the ground. Another inspiring example is Stokholm. At the second half of XX century Swedish artists successfully managed a completely new project to them in Stokholm underground and proudly proved that art can be very democratic and artists can work in collaboration with other specialists as engineers, architects and workers. Decades after decades Stokholm metro slowly built a 110 km length underground art gallery. Stokholm metro art no longer belongs exceptionally to the Swedes, the sound of their capital's unique underground system and its images has already spread all over the globe. It has to be said – the winners of Stokholm's metro are all Swedes and every artist in this country. Swedish art curator Göran Söderström in his book Art Goes Uderground, which I can already name as my basic table book, calls Stokholm metro "a utilitarian, literally". He along all the authors of this book explain every aspect of Stokholm metro: from a need to build it, as well as planning and engineering it, to a society's needs and opinions and detailed descriptions of all stations with artworks and presentation of their creating history and philosophy. Utilitarian point of view is very distinct in all the examples presented in my M.A. thesis. One couldn't find a negative artwork or negative context anywhere in metros. Perhaps it is a common secret publicly kept in silence. If somebody decided to come up with a destructive idea, probably it would be rejected because of responsibility for a huge audience, millions of people everyday travelling rapid transit trains. Open, anonymous, unregulated public spaces naturally become a scene for social expression, especially it is true in transit zone spaces. If I discuss the esthetics in art decorated metro stations, I should discuss the space before the occurance of this estethics, I guess. My opionion of graffiti, at times irritating, at times positive phenomenon for me, is very well represented in a book about graffiti's (im)propriety called Inopinatum, written by young scholars in Rome. I could only admit that the works of street artists as Banksy, Blu, Os Gemeos become organic part of a facade and immediately create an urban value to it. And on the contrary, messy, dirty, damaged and tagged public metro space is inducing so called broken windows syndrome. My object of interest – Vilnius Metro – does not exist. Its inexestance or, in other words, the imaginery existance, became the major problem of my M.A. survey. My interest in possibility to build Vilnius metropolitan started with already existing strategy of the city. M. De Certeau ideas prompted me that my metro could be reflected from the point of view of a tactitian. Vilnius metro idea creators already have several schemes and metro line junctions. It was interesting to study them and evaluating their correspondence with my expectations as a tactitian. An organic metro line net reminds me of a plant root system, a huge battery placed under the city and providing it with energy. Cities with metros remind me of a human body that is vital, vibrant and forever young. My meeting with Vilnius metro planners and conversations with them could have become a small play of its own or extend the practical part of my M.A. thesis. Sadly, I have to admit that very important topic of Vilnius city landed in the hands of lobbyists and their "life mission" to build a metro is nothing more as a selfish search for a lucrative way to dig under Vilnius ground. As soon as I found it, I decided to look for data of this subject by myself and stop using the data supplied from the Destorted Looking-Glass Land of Vilnius metro lobbyists. For months attentively studying Vilnius city structure and its maps I have built a Vilnius metro scheme of my own. Along these studies I have been reading Tomas Venclova books. I trusted this Vilnius researcher, as well as his experience and insights. His idea about Vilnius, which fascinated me the most, was that Vilnius old town reminded anatomical heart. So I looked precisely at the contor map of Vilnius old town made by Vilnius municipality and I was astonished at how right and precise Tomas Venclova was, only several percent of the old town had not fitted into the contour. And not only this, Vilnius old town resembled an actual anatomical heart with its venous and arterial blood vessels taking all nutrients needed form the rivers Neris and Vilnelė. So that is how my city started – from the heart. Vilnius city anatomy with metro stations, that are still waiting for being created and given significance. It seems quite a good idea to me.

Moderator: Nancy Frankenberry (REL) Panelists: Brenda Silver (ENGL) and Lynn Higgins (COLT, FRIT, Dean emerita) Mary Hudson (PHYS) Deborah King (SOC) Nancy Frankenberry is the John Phillips Professor in Religion Emerita. She was the first woman hired in the Religion Department, the first woman tenured in the Religion Department, and the first female chair of that department. Since retiring from the teaching portion of her career in 2015, she has served as President of the Metaphysical Society of America (2017) and President of the Institute for American Religious and Philosophical Thought (2016-2020). Her most recent publications are "Contingency After Nagarjuna and Rorty," Review of Metaphysics (March 2019); "Map is Not Territory, Menu is Not Meal," Method and Theory in the Study of Religion 31 (2019); "The Fate of Radical Empiricism and the Future of Pragmatic Naturalism," in Pragmatism and Naturalism: Scientific and Social Inquiry After Representationalism, ed. Matthew C. Bagger (Columbia University Press 2018); and "Naturalisms, Ineffability Claims, and Symbolic Meanings," in The Question of Methodological Naturalism, ed. Jason N. Blum (Brill 2018). Her chapter "Wildman's Eff'ing Symbology" is forthcoming in a volume on Religion in Multidisciplinary Perspective (2020). Brenda R. Silver is Mary Brinsmead Wheelock Professor Emerita at Dartmouth College; she also held the position of Adjunct Professor of English at Trinity College Dublin. She joined the English Department at Dartmouth in 1972, the first year of co-education, and was one of the original founders of the Women and Gender Studies Program. She has taught courses on Twentieth-Century British Fiction, Postmodern Fiction, Popular Fiction, Cyberculture, and, always, Virginia Woolf. Her publications include Virginia Woolf's Reading Notebooks, Virginia Woolf Icon, and Rape and Representation, edited with Lynn A. Higgins, as well as articles on Woolf, Charlotte Bronté, E.M. Forster, John Le Carré, textual editing, anger, hypertext, popular fiction in the digital age, and other contemporary literary and cultural narratives. Lynn A. Higgins is the Edward Tuck Professor of French Studies at Dartmouth College. With a B.A. from Oberlin College and a PhD from the University of Minnesota, she arrived at Dartmouth in 1976, just one month after the first co-educational class graduated. She was one of the original co-founders of the Women's Studies Program, and co-taught its first course. With Brenda R. Silver, she launched the Feminist Inquiry Faculty Seminar in 1977 and directed a Humanities Institute on Gender and War in 1990. She teaches courses on 20th- and 21st century French literature and cinema, including a course on French women filmmakers. She served for eleven years as chair of her department and from 2011 to 2016 as Associate Dean of the Faculty for Interdisciplinary Programs and International Studies. Her publications include New Novel, New Wave, New Politics: Fiction and the Representation of History in Postwar France; Bertrand Tavernier; Rape and Representation, co-edited with Brenda R. Silver, and articles on an array of topics including documentary film, gender and humor, and gender and war (World War II and the French war in Algeria), and cultural figures such as Chantal Akerman, Roland Barthes, Marguerite Duras, Diane Kurys, Patrick Modiano, Alain Resnais, and others. Mary K. Hudson, Space Physicist, PhD UCLA 1974, is Professor of Physics and Astronomy Emerita and served for eight years as Chair of Physics and Astronomy at Dartmouth College. She is currently a Senior Research Associate at the High Altitude Observatory at the National Center for Atmospheric Research in Boulder, CO. Hudson is a co-principal Investigator on two experiments on the NASA Van Allen Probes satellites designed to study earth's radiation belts, and on the Balloon Array for Radiation-belt Relativistic Electron Losses (BARREL) along with Professor Robyn Millan of the Physics and Astronomy Department at Dartmouth. Hudson and her students study the weather patterns that originate from solar eruptions, following the energy and mass transfer through the interplanetary medium, all the way to the earth's ionosphere. Current areas of investigation include the evolution of the radiation belts; how the ionized particle outflow known as the solar wind and the magnetic field of the sun interact with the magnetic field of the earth, producing electrical currents in the ionosphere; and the effects of solar cosmic rays on radio communications near the earth's poles. Professor Hudson is also funded through NSF to study solar energetic particles and their access to the atmosphere. Deborah K. King. Born in Kansas City, Missouri during the early 1950s, Associate Professor King has been a beneficiary of the civil rights and women movements' successful court cases, legislative battles and protest demonstrations. From racially segregated public schools, she earned her B. A. from Northwestern University in Evanston, IL and her Ph. D. in Sociology from Yale University. Professor King's scholarly interests encompass law and social control; race, class and gender intersections; and historical/cultural sociology. Those scholarly endeavors have always worked synergistically with her efforts toward institutional and social change. While completing her dissertation research on the federal enforcement of affirmative action employment policies in higher education, she co-organized a group of Yale law and graduate students who wrote an amicus curiae brief for the 1978 Bakke case. Her Signs article, "Multiple Jeopardy, Multiple Consciousness: The Context of Black Feminist Ideology," has become a classic and helped lay the conceptual foundation for intersectionality. During the 1991 congressional confirmation hearings for Clarence Thomas, Professor King along with historians Elsa Barkley Brown and Barbara Ransby organized a nation-wide campaign to challenge the misrepresentations of Black women that arose with Anita Hill's allegations of sexual harassment. Within weeks – and long before cell phones and social media -- 1,500 Black women signed the "Statement of African American Women in Defense of Ourselves (AAWIDO)" and raised over $50,000 for a full one-page ad in the New York Times plus major African American and other newspapers. More recent scholarship examines the role of First Lady Michelle Obama as an "othermother," and the survival strategies of Black women beauticians during the great recession. One of the never-ending projects is an analysis of the popular visual representations of prisons and correctional ideology as presented on picture postcards during the late 19th - early 20th century. Currently, her energies are focused on one project: the recovery of Dartmouth's relationships with the institution of slavery. Previous students in the course have established a website and conducted a campus walking tour of relevant sites. The term's seminar is preparing an exhibition in Rauner Library for the winter term. Professor King's related research examines the representations of Black women, enslaved and formerly enslaved, who are esteemed in the early histories of elite colleges, including Dartmouth, Bowdoin, Princeton, Harvard and Yale. She has been on the Dartmouth faculty since 1980, where she was the first African American woman to gain tenure. She has chaired both the Sociology and African & African American Studies Program, and served on steering and personnel committees of Women, Gender & Sexuality Studies as well as AAAS; as a committee member and mentor for both the Mellon-Mays Undergraduate Fellowship and the Chavez-Eastman-Marshall Dissertation Fellowships. As an officer of the Dartmouth Black Caucus, she was pivotal in leading its efforts to establish the E. E. Just 1907 Professorship in honor of a pioneering cellular biologist and one of Dartmouth's early Black graduates. For more than forty years, she has participated in varied initiatives to recruit historically excluded groups into academic careers and to support their professional development and success. Preparing the way for the next generations of scholars of color and women has been an enduring professional commitment and a great joy!

La lecture joue un grand rôle dans le processus d'enseignement-apprentissage. Elle constitue une base solide de la formation didactique de l'apprenant pour s'adapter à la société. Il existe quatre niveaux de compréhension en lecture : littérale, inférentielle ou interprétative, critique et créative. Les habiletés de ces quatre niveaux de compréhension sont organisées selon la hiérarchie de la taxonomie de Bloom. Notre recherche portait sur le niveau de la compréhension critique en lecture : la lecture critique. À la suite d'une recension de la littérature scientifique, nous avons constaté que les recherches connues à ce jour appuient l'importance de s'intéresser à la didactique de la lecture en classe de français. Cependant, les résultats semblent peu concluants à l'égard de la lecture critique, malgré son importance. La problématique de notre recherche consiste au fait que les apprenants du Français Langue Étrangère (FLE) éprouvent des difficultés en lecture critique. Ils tendent vers une compréhension globale du texte sans chercher ni comprendre le sens implicite. D'une part, différents auteurs ont montré que les raisons de ces difficultés ne sont pas dues seulement aux étudiants eux-mêmes mais aussi aux méthodes d'enseignement non appropriées à enseigner la lecture critique en FLE. Dans le domaine de l'enseignement des langues étrangères aux locuteurs d'autres langues, certains auteurs préconisent également la didactique de la lecture critique où les enseignants ne font pas juste enseigner aux étudiants les compétences linguistiques de base ou de former leurs habiletés de communication, mais aussi le besoin de développer la conscience critique chez les apprenants qui leur permettent de poser des questions plutôt que d'accepter passivement l'information qu'ils trouvent. D'autre part, la recension a montré que l'enseignement basé sur la caricature semble motivant et amène les apprenants à réfléchir, mais que ce support didactique n'a pas été utilisé auprès d'apprenants de français, surtout au niveau universitaire. Des études ont prouvé l'efficacité de la caricature dans l'enseignement de l'histoire, les sciences et la littératie visuelle et politique. Aucune étude, d'après notre recension d'écrits, n'a porté sur la caricature en didactique de FLE. D'ailleurs c'est un domaine peu investigué. Notre recherche exploratoire voulait intégrer la caricature dans l'enseignement de la lecture critique en FLE. En définitive, notre recherche visait à répondre à la question générale suivante : Quelle est la contribution de la caricature comme support didactique au développement des habiletés de la lecture critique chez les apprenants du FLE ? De cette question découlent les questions spécifiques suivantes : 1- Quel est le rôle de la caricature comme support didactique dans le développement de la lecture critique chez les apprenants du FLE ? Et 2- quelles sont les perceptions des apprenants ciblés à l'égard de la caricature ? Pour ce faire, notre recherche a impliqué l'élaboration d'un dispositif didactique au cœur duquel figurait la caricature. Afin de recueillir les données, nous avons choisi un échantillon volontaire parmi des étudiants adultes qui apprennent le FLE, à l'Université de Sherbrooke. Notre expérimentation didactique consistait à leur faire vivre des activités de lecture critique de textes basés sur la caricature en trois séances complémentaires. Les outils de collecte de données étaient les suivants : des prétests qui précédaient chaque séance du dispositif didactique pour diagnostiquer le niveau des étudiants en lecture critique, des posttests en lecture critique qui suivaient chacune des séances, des entrevues pour identifier les perceptions et les productions des participants. Nous avons analysé l'ensemble des données. Il s'agissait d'une analyse évaluative des réponses des participants dans les pré/posttests; d'une analyse thématique du verbatim des entrevues afin d'identifier les perceptions des participants ; et d'une analyse du contenu des caricatures produites par les participants pour appuyer les résultats obtenus. Les résultats de l'analyse ont indiqué que la caricature a contribué au développement de la lecture critique chez les apprenants du FLE : grandement chez les débutants et les intermédiaires et partiellement chez les avancés. En parallèle, la caricature était positivement perçue par tous les participants. Ceux-ci ont avancé que la caricature était pour eux une expérience originale, motivante et transférable. Ces résultats combinés avec ceux des recherches antérieures dans le même domaine laissent entrevoir que la caricature comme support didactique pourrait favoriser la compréhension en lecture en général chez les apprenants adultes. ; Abstract: Reading plays an important role in the teaching / learning process. It constitutes a solid basis for the didactic training of the learner to adapt to society. There are four levels of reading comprehension: literal, inferential or interpretive, critical and creative. The skills of these four levels of understanding are organized according to the hierarchy of Bloom's taxonomy. Our research focused on the level of critical reading comprehension: critical reading. Following a review of the scientific literature, we found that the research known to date supports the importance of taking an interest in reading literacy in French. However, the results seem inconclusive with regard to critical reading, despite its importance. The problem of our research is that the learners of the French Foreign Language (FFL) have difficulties in critical reading. They tend towards a global understanding of the text without going further in the implicit sense. On the one hand, different authors have shown that the reasons for these difficulties are not only due to the students themselves but also to the teaching methods not appropriate to teach critical reading in FFL. In the field of foreign language teaching to speakers of other languages, some authors also advocate the teaching of critical reading where teachers do not just teach students basic language skills or train their communication skills, but also the need to develop critical awareness in learners that allow them to ask questions rather than passively accepting the information they find. On the other hand, the review showed that teaching based on caricature seems motivating and leads learners to think, but that this didactic support was not used with learners of French, especially at the university level. Studies have proven the effectiveness of caricature in the teaching of history, science and visual and political literacy. No study, according to our review of writings, has focused on the caricature in didactics of FFL. Besides, it is a little investigated field. Our exploratory research wanted to integrate caricature into the teaching of critical reading in FFL. As a conclusion, our research aimed to answer the following general question: What is the contribution of caricature as a didactic medium to the development of the skills of critical reading in the learners of the FFL? From this issue arise the following specific questions: 1- What is the role of caricature as a didactic medium in the development of critical reading in the learners of the FFL? And what are the perceptions of targeted learners about caricature? To do this, our research involved the development of a didactic system at the heart of which caricature was included. In order to collect the data, we chose a sample of adult learners who were studying at the University of Sherbrooke. Our didactic experimentation consisted in making them live the activities of critical reading of texts based on caricature in three complementary stages. The data collection tools included pre-tests that preceded each stage of the didactic experimentation to diagnose the participant's level in critical reading; post-tests that followed each stage; interviews to identify their perceptions, and drawings produced by them. We analyzed all the data. This was an evaluative analysis of the students' responses in pre / posttests; a thematic analysis of the interview verbatim in order to identify their perceptions; and an analysis of the content of the caricatures produced in support of the results obtained. The results of the analysis showed that caricature has greatly contributed to the development of critical reading in FFL among the beginners and intermediates and partially among the advanced students. At the same time, the caricature was positively perceived by all participants. These ones argued that caricature was an original, motivating and transferable experience. These results, combined with previous research in the same field, suggest that caricature as a didactic medium could promote reading comprehension in adult learners in general.

The exemplum is a privileged target for the cultural study of the medieval society. If the research regarding the content of those edifying anecdotes is already well advanced, the analysis of the real audiences and concrete uses of the exempla remained yet to be undertaken. Because the expansion and characterization of this typology is directly linked with the emergence of the collections of exempla, our investigation was based on this kind of works. To succeed with this project, we used the information existing in the manuscripts copies and in medieval booklists. With these two kinds of sources, we analysed books as physical objects (cover, writing, etc.), vehicles of culture (versions, surrounding works, etc.) and historical witness (purchase, legacies, etc.). The thesis focused on the following central questions: how did books of exempla diffused in time and space? Which works achieved success? Who were the owners of these books? How did they read and use them? In the first part of our analysis, the theoretical one, historiographical and historical definitions of the exemplum and the collections of exempla have been clarified. This was indispensable because a large part of the scientific literature, especially in France, only considered the exemplum as a kind of story, which appeared in the twelfth century and was used by preachers in sermons to illustrate a salutary message. By saying so, they neglected the persuasive nature of the exemplum, confining it to a literary genre. In reality, the exemplum should be primarily considered as a rhetorical argument based on a deed or a word that happened in the past. Nevertheless, its persuasive power, which comes from its visual imagery, is especially effective when the case is told in the form of a story. This phenomenon is currently studied in the storytelling management, which uses stories to improve communication. In sum, the exemplum is an argument stemming from reality in the form of a story. The history of the exemplum does not start with the mendicant orders, but within democracy and the rhetoric schools of Athena and later in Rome. With the emergence of Christianity, church fathers use it to fight against heretics and monks to share the spiritual experience of elders to novices. A pro domo use of the exempla appears with the creation of the new religious orders, first Cluny, then the Cistercians and finally the mendicants. The latter put exempla in theirs sermons to attract the attention of their audience, though not only. They use them in conversations, lectiones and also in didactic and moral treatises. This was no novelty: previous writers such as John of Salisbury in his Polycraticus uses it abundantly. If the years 1250-1350 are the magnificent era of the exemplum, since the second half of the 14th century, we can notice a decline of the exemplum, which becomes either an illustration, an allegory, or an open, facetious, entertaining or devote story. As far as the books of exempla are concerned, for a long time scholars did not try to define them precisely. They looked at these collections only for the stories they contained. To their minds, an exempla collection was simply a book in which there were exempla. To make a necessary distinction between very differing books of exempla, we need to precise: a) the proportion of exempla; b) if the exempla are used by the authors as arguments or offered to the readers for rhetorical purposes; c) if there is an organizational system. Those questions successively allow distinguishing books of exempla from books with exempla, exempla treaties from exempla collections and exempla repositories. Nonetheless, due to the fact that exemplum is not a genre but a function, it is very hard to define a clear corpus. The first important book of exempla comes from Roman Antiquity. The Facta et dicta memorabilia of Valerius Maximus was used as a text book for students in rhetoric. With the flourishing of monasticism, exempla collections of the Vitae patrum spread all over the Christian world, diffusing the good examples of the desert Fathers. In the beginning of the second millennium, religious orders continued this practice, but with the new will of putting their respective orders forward. The first alphabetical repositories of exempla appear at the end of the 13th century due to the necessity of preaching and of tidying up growing knowledge. However, alongside the existence of these collections of exempla made for preaching purposes, there are many others books and treaties of exempla, whose function is either to instruct, or to give the rules of social morality, or simply to edify readers. The second part of the thesis puts the stress on the concrete diffusion and uses of the exempla collections. The investigation on the manuscript copies shows, inter alia, an increase in their number during the centuries (13 times more in the 15th than in the 13th century), the predominant place of the German area, especially in the 15th century, and the growing importance of the treatises of exempla, taking advantage on the repertories. With regards to the incunabula, we count 172 Latin and 74 vernacular editions of exempla collections before 1500. This mainly concerns repositories for the former when the latter contains almost exclusively treaties. The production of this edition starts in the years 1470, culminates in the years 1480 and declines at the end of the century. Geographically, we notice the same importance of the German speaking area, especially in the city of Strasbourg. At the second place we find Italy, which produces mainly antique exempla collections. For the manuscript copies as for the incunabula editions, we have to keep in mind that it exists huge differences of success between books of exempla. The last chapter focuses on the diffusion and uses of the books of exempla written by the Dominicans, the biggest producer of such collections. We also see big discrepancies of success, owners and uses. For example, the Gerard of Frachet's Vitas fratrum were mainly read in continental Europe by Dominicans and Canons regular to keep conventual order and morality, while the John Herolt's Promptuarium exemplorum was used by different orders and persons in the German world for pastoral purposes and John of Bromyard's Summa praedicantium was located in England in highly intellectual institutions, such as universities and big Benedictine monasteries. A collection of exempla can also have different readers and uses. Thomas of Cantimpre's Bonum universale de apibus, written for conventual purposes, was also used either as a repertory of exempla for preaching or as a treaty of social morality. John of Cessoles' Liber de moribus was not only read by preachers and pastors but also by lay people as spiritual lecture. Across the study of the different exempla collections, we notice many German 15th century manuscripts exclusively elaborated for pastoral uses. In these Priesterhandbücher we can find, next to exempla collections, sermons, artes predicandi, treaties on the Mass, explanation of the sacraments, the Ten Commandments and Credo. Unlike a common vision of exempla collections produced and used within the preaching, this global study shows, on the one hand, the great diversity of production environments and aims intended by exempla compilers, as well as, on the second hand, an equally important variety concerning diffusion and real uses of such works. Added to the thesis, there is an appendix of more than 300 pages presenting 68 Latin books of exempla, in which the characteristics of the work are exposed, the objectives of use pursued by the author, and the modalities of diffusion (including the list of manuscripts, medieval mentions, translations and editions). ; (DOCFILO02) -- FUNDP, 2013

The exemplum is a privileged target for the cultural study of the medieval society. If the research regarding the content of those edifying anecdotes is already well advanced, the analysis of the real audiences and concrete uses of the exempla remained yet to be undertaken. Because the expansion and characterization of this typology is directly linked with the emergence of the collections of exempla, our investigation was based on this kind of works. To succeed with this project, we used the information existing in the manuscripts copies and in medieval booklists. With these two kinds of sources, we analysed books as physical objects (cover, writing, etc.), vehicles of culture (versions, surrounding works, etc.) and historical witness (purchase, legacies, etc.). The thesis focused on the following central questions: how did books of exempla diffused in time and space? Which works achieved success? Who were the owners of these books? How did they read and use them? In the first part of our analysis, the theoretical one, historiographical and historical definitions of the exemplum and the collections of exempla have been clarified. This was indispensable because a large part of the scientific literature, especially in France, only considered the exemplum as a kind of story, which appeared in the twelfth century and was used by preachers in sermons to illustrate a salutary message. By saying so, they neglected the persuasive nature of the exemplum, confining it to a literary genre. In reality, the exemplum should be primarily considered as a rhetorical argument based on a deed or a word that happened in the past. Nevertheless, its persuasive power, which comes from its visual imagery, is especially effective when the case is told in the form of a story. This phenomenon is currently studied in the storytelling management, which uses stories to improve communication. In sum, the exemplum is an argument stemming from reality in the form of a story. The history of the exemplum does not start with the mendicant orders, but within democracy and the rhetoric schools of Athena and later in Rome. With the emergence of Christianity, church fathers use it to fight against heretics and monks to share the spiritual experience of elders to novices. A pro domo use of the exempla appears with the creation of the new religious orders, first Cluny, then the Cistercians and finally the mendicants. The latter put exempla in theirs sermons to attract the attention of their audience, though not only. They use them in conversations, lectiones and also in didactic and moral treatises. This was no novelty: previous writers such as John of Salisbury in his Polycraticus uses it abundantly. If the years 1250-1350 are the magnificent era of the exemplum, since the second half of the 14th century, we can notice a decline of the exemplum, which becomes either an illustration, an allegory, or an open, facetious, entertaining or devote story. As far as the books of exempla are concerned, for a long time scholars did not try to define them precisely. They looked at these collections only for the stories they contained. To their minds, an exempla collection was simply a book in which there were exempla. To make a necessary distinction between very differing books of exempla, we need to precise: a) the proportion of exempla; b) if the exempla are used by the authors as arguments or offered to the readers for rhetorical purposes; c) if there is an organizational system. Those questions successively allow distinguishing books of exempla from books with exempla, exempla treaties from exempla collections and exempla repositories. Nonetheless, due to the fact that exemplum is not a genre but a function, it is very hard to define a clear corpus. The first important book of exempla comes from Roman Antiquity. The Facta et dicta memorabilia of Valerius Maximus was used as a text book for students in rhetoric. With the flourishing of monasticism, exempla collections of the Vitae patrum spread all over the Christian world, diffusing the good examples of the desert Fathers. In the beginning of the second millennium, religious orders continued this practice, but with the new will of putting their respective orders forward. The first alphabetical repositories of exempla appear at the end of the 13th century due to the necessity of preaching and of tidying up growing knowledge. However, alongside the existence of these collections of exempla made for preaching purposes, there are many others books and treaties of exempla, whose function is either to instruct, or to give the rules of social morality, or simply to edify readers. The second part of the thesis puts the stress on the concrete diffusion and uses of the exempla collections. The investigation on the manuscript copies shows, inter alia, an increase in their number during the centuries (13 times more in the 15th than in the 13th century), the predominant place of the German area, especially in the 15th century, and the growing importance of the treatises of exempla, taking advantage on the repertories. With regards to the incunabula, we count 172 Latin and 74 vernacular editions of exempla collections before 1500. This mainly concerns repositories for the former when the latter contains almost exclusively treaties. The production of this edition starts in the years 1470, culminates in the years 1480 and declines at the end of the century. Geographically, we notice the same importance of the German speaking area, especially in the city of Strasbourg. At the second place we find Italy, which produces mainly antique exempla collections. For the manuscript copies as for the incunabula editions, we have to keep in mind that it exists huge differences of success between books of exempla. The last chapter focuses on the diffusion and uses of the books of exempla written by the Dominicans, the biggest producer of such collections. We also see big discrepancies of success, owners and uses. For example, the Gerard of Frachet's Vitas fratrum were mainly read in continental Europe by Dominicans and Canons regular to keep conventual order and morality, while the John Herolt's Promptuarium exemplorum was used by different orders and persons in the German world for pastoral purposes and John of Bromyard's Summa praedicantium was located in England in highly intellectual institutions, such as universities and big Benedictine monasteries. A collection of exempla can also have different readers and uses. Thomas of Cantimpre's Bonum universale de apibus, written for conventual purposes, was also used either as a repertory of exempla for preaching or as a treaty of social morality. John of Cessoles' Liber de moribus was not only read by preachers and pastors but also by lay people as spiritual lecture. Across the study of the different exempla collections, we notice many German 15th century manuscripts exclusively elaborated for pastoral uses. In these Priesterhandbücher we can find, next to exempla collections, sermons, artes predicandi, treaties on the Mass, explanation of the sacraments, the Ten Commandments and Credo. Unlike a common vision of exempla collections produced and used within the preaching, this global study shows, on the one hand, the great diversity of production environments and aims intended by exempla compilers, as well as, on the second hand, an equally important variety concerning diffusion and real uses of such works. Added to the thesis, there is an appendix of more than 300 pages presenting 68 Latin books of exempla, in which the characteristics of the work are exposed, the objectives of use pursued by the author, and the modalities of diffusion (including the list of manuscripts, medieval mentions, translations and editions). ; (DOCFILO02) -- FUNDP, 2013

The exemplum is a privileged target for the cultural study of the medieval society. If the research regarding the content of those edifying anecdotes is already well advanced, the analysis of the real audiences and concrete uses of the exempla remained yet to be undertaken. Because the expansion and characterization of this typology is directly linked with the emergence of the collections of exempla, our investigation was based on this kind of works. To succeed with this project, we used the information existing in the manuscripts copies and in medieval booklists. With these two kinds of sources, we analysed books as physical objects (cover, writing, etc.), vehicles of culture (versions, surrounding works, etc.) and historical witness (purchase, legacies, etc.). The thesis focused on the following central questions: how did books of exempla diffused in time and space? Which works achieved success? Who were the owners of these books? How did they read and use them? In the first part of our analysis, the theoretical one, historiographical and historical definitions of the exemplum and the collections of exempla have been clarified. This was indispensable because a large part of the scientific literature, especially in France, only considered the exemplum as a kind of story, which appeared in the twelfth century and was used by preachers in sermons to illustrate a salutary message. By saying so, they neglected the persuasive nature of the exemplum, confining it to a literary genre. In reality, the exemplum should be primarily considered as a rhetorical argument based on a deed or a word that happened in the past. Nevertheless, its persuasive power, which comes from its visual imagery, is especially effective when the case is told in the form of a story. This phenomenon is currently studied in the storytelling management, which uses stories to improve communication. In sum, the exemplum is an argument stemming from reality in the form of a story. The history of the exemplum does not start with the mendicant orders, but within democracy and the rhetoric schools of Athena and later in Rome. With the emergence of Christianity, church fathers use it to fight against heretics and monks to share the spiritual experience of elders to novices. A pro domo use of the exempla appears with the creation of the new religious orders, first Cluny, then the Cistercians and finally the mendicants. The latter put exempla in theirs sermons to attract the attention of their audience, though not only. They use them in conversations, lectiones and also in didactic and moral treatises. This was no novelty: previous writers such as John of Salisbury in his Polycraticus uses it abundantly. If the years 1250-1350 are the magnificent era of the exemplum, since the second half of the 14th century, we can notice a decline of the exemplum, which becomes either an illustration, an allegory, or an open, facetious, entertaining or devote story. As far as the books of exempla are concerned, for a long time scholars did not try to define them precisely. They looked at these collections only for the stories they contained. To their minds, an exempla collection was simply a book in which there were exempla. To make a necessary distinction between very differing books of exempla, we need to precise: a) the proportion of exempla; b) if the exempla are used by the authors as arguments or offered to the readers for rhetorical purposes; c) if there is an organizational system. Those questions successively allow distinguishing books of exempla from books with exempla, exempla treaties from exempla collections and exempla repositories. Nonetheless, due to the fact that exemplum is not a genre but a function, it is very hard to define a clear corpus. The first important book of exempla comes from Roman Antiquity. The Facta et dicta memorabilia of Valerius Maximus was used as a text book for students in rhetoric. With the flourishing of monasticism, exempla collections of the Vitae patrum spread all over the Christian world, diffusing the good examples of the desert Fathers. In the beginning of the second millennium, religious orders continued this practice, but with the new will of putting their respective orders forward. The first alphabetical repositories of exempla appear at the end of the 13th century due to the necessity of preaching and of tidying up growing knowledge. However, alongside the existence of these collections of exempla made for preaching purposes, there are many others books and treaties of exempla, whose function is either to instruct, or to give the rules of social morality, or simply to edify readers. The second part of the thesis puts the stress on the concrete diffusion and uses of the exempla collections. The investigation on the manuscript copies shows, inter alia, an increase in their number during the centuries (13 times more in the 15th than in the 13th century), the predominant place of the German area, especially in the 15th century, and the growing importance of the treatises of exempla, taking advantage on the repertories. With regards to the incunabula, we count 172 Latin and 74 vernacular editions of exempla collections before 1500. This mainly concerns repositories for the former when the latter contains almost exclusively treaties. The production of this edition starts in the years 1470, culminates in the years 1480 and declines at the end of the century. Geographically, we notice the same importance of the German speaking area, especially in the city of Strasbourg. At the second place we find Italy, which produces mainly antique exempla collections. For the manuscript copies as for the incunabula editions, we have to keep in mind that it exists huge differences of success between books of exempla. The last chapter focuses on the diffusion and uses of the books of exempla written by the Dominicans, the biggest producer of such collections. We also see big discrepancies of success, owners and uses. For example, the Gerard of Frachet's Vitas fratrum were mainly read in continental Europe by Dominicans and Canons regular to keep conventual order and morality, while the John Herolt's Promptuarium exemplorum was used by different orders and persons in the German world for pastoral purposes and John of Bromyard's Summa praedicantium was located in England in highly intellectual institutions, such as universities and big Benedictine monasteries. A collection of exempla can also have different readers and uses. Thomas of Cantimpre's Bonum universale de apibus, written for conventual purposes, was also used either as a repertory of exempla for preaching or as a treaty of social morality. John of Cessoles' Liber de moribus was not only read by preachers and pastors but also by lay people as spiritual lecture. Across the study of the different exempla collections, we notice many German 15th century manuscripts exclusively elaborated for pastoral uses. In these Priesterhandbücher we can find, next to exempla collections, sermons, artes predicandi, treaties on the Mass, explanation of the sacraments, the Ten Commandments and Credo. Unlike a common vision of exempla collections produced and used within the preaching, this global study shows, on the one hand, the great diversity of production environments and aims intended by exempla compilers, as well as, on the second hand, an equally important variety concerning diffusion and real uses of such works. Added to the thesis, there is an appendix of more than 300 pages presenting 68 Latin books of exempla, in which the characteristics of the work are exposed, the objectives of use pursued by the author, and the modalities of diffusion (including the list of manuscripts, medieval mentions, translations and editions). ; (DOCFILO02) -- FUNDP, 2013