A recepção de escultura clássica na Academia de Belas-Artes de Lisboa

Tese de doutoramento, Belas-Artes (Ciências da Arte), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Estratégias de motivação na disciplina de economia numa escola secundária

Relatório da prática de ensino supervisionada, Mestrado em Ensino de Economia e Contabilidade, Universidade de Lisboa, 2011

What is poetic attention

Tese de doutoramento, Estudos de Literatura e de Cultura (Teoria da Literatura), Universidade de Lisboa, Faculdade de Letras, 2014

Environmental ethics: philosophy, ecology and other species

Pressure on the environment has increased in step with economic growth and the mass consumption that fueled rising gross domestic product throughout the twentieth century. Both growth and ecological crises have attained a global reach, challenging our established notions of cause and effect, and our framing of problems and solutions. Accordingly, global environmental politics has witnessed major changes and significant "rescaling" in its "locus, agency and scope" (Andonova and Mitchell2010: 257). Both dimensions of global environmental politics - politics and governance, and the ecological problems that are the subject matter of global environmental politics - are being reinterpreted due to increasing complexity, interconnectedness and interdependence. Accordingly, the range of actors and disciplines that infom1 global environmental politics and contribute to framing global environmental problems is widening, in an acknowledgment of inescapable pluralism.

Espaço enquanto matéria da arte, espaço enquanto matéria do museu : (re)configurações da experiência site-specific

The central theme of this dissertation encompasses the importance of space, particularly the exhibition space, and how it has become part of the subject matter, as well as a medium in art. Some artistic practices of the 20th century, mainly in the 20s and 60s, both in Europe and the United States of America have provided the contextual foundation. The close relation between the architectural and exhibition spaces has become an intrinsic link to establish the existence of the three-dimensional work of art. The overarching importance of space in the contemporary artistic practice is visible through the creative and exhibition installation process, most notably in the artistic movements of Installation art and Site-specific. By carrying over the transformative contemporary art scene concepts to an institutional and museological context, paired with the inherent evolution of its practices, these have allowed for a convergence of the museological fields. With the intention of providing audiences a unique experience, curators and museologists have relied on site-specific practices. By inviting artists (typically featured in the current artistic scene) to develop projects specially thought for a specific museum space, this simultaneously allows for a dialogue between the work of art and the space. These temporary exhibitions have garnered the attention a more diverse audience. As a result sustainability and independence of the museums are a constant source of debate. The result of which has allowed for the broadening of the notions of how museums function and have integrated the audience as a main element of the strategies of the museum programming. The principles of the cultural marketing provide museums a clearer vision of the understanding of the different audience and their needs. Thus, the main goal of this study is to perceive the importance of the museum space in the relation to the artistic practice. While existing as a strategic resource of the museological program, insofar as having the ability to lure new audiences. It also matters to notice, if the fact of the artist working directly inside the museum, contribute to a narrowing of the artist/audience relationship, being the museum the mediation element