Emma Hamilton, a Model of Agency in Late Eighteenth-Century Europe

Emma Hamilton (1765-1815) eut un impact considérable à un moment charnière de l’histoire et de l’art européens. Faisant preuve d’une énorme résilience, elle trouva un moyen efficace d’affirmer son agentivité et fut une source d’inspiration puissante pour des générations de femmes et d’artistes dans leur propre quête d’expression et de réalisation de soi. Cette thèse démontre qu’Emma tira sa puissance particulière de sa capacité à négocier des identités différentes et parfois même contradictoires – objet et sujet ; modèle et portraiturée ; artiste, muse et œuvre d’art ; épouse, maîtresse et prostituée ; roturière et aristocrate ; mondaine et ambassadrice : et interprète d’une myriade de caractères historiques, bibliques, littéraires et mythologiques, tant masculins que féminins. Épouse de l’ambassadeur anglais à Naples, favorite de la reine de Naples et amante de l’amiral Horatio Nelson, elle fut un agent sur la scène politique pendant l’époque révolutionnaire et napoléonienne. Dans son ascension sociale vertigineuse qui la mena de la plus abjecte misère aux plus hauts échelons de l’aristocratie anglaise, elle sut s’adapter, s’ajuster et se réinventer. Elle reçut et divertit d’innombrables écrivains, artistes, scientifiques, nobles, diplomates et membres de la royauté. Elle participa au développement et à la dissémination du néoclassicisme au moment même de son efflorescence. Elle créa ses Attitudes, une performance répondant au goût de son époque pour le classicisme, qui fut admirée et imitée à travers l’Europe et qui inspira des générations d’interprètes féminines. Elle apprit à danser la tarentelle et l’introduisit dans les salons aristocratiques. Elle influença un réseau de femmes s’étendant de Paris à Saint-Pétersbourg et incluant Élisabeth Vigée-Le Brun, Germaine de Staël et Juliette Récamier. Modèle hors pair, elle inspira plusieurs artistes pour la production d’œuvres qu’ils reconnurent comme parmi leurs meilleures. Elle fut représentée par les plus grands artistes de son temps, dont Angelica Kauffman, Benjamin West, Élisabeth Vigée-Le Brun, George Romney, James Gillray, Joseph Nollekens, Joshua Reynolds, Thomas Lawrence et Thomas Rowlandson. Elle bouscula, de façon répétée, les limites et mœurs sociales. Néanmoins, Emma ne tentait pas de présenter une identité cohérente, unifiée, polie. Au contraire, elle était un kaléidoscope de multiples « sois » qu’elle gardait actifs et en dialogue les uns avec les autres, réarrangeant continuellement ses facettes afin de pouvoir simultanément s’exprimer pleinement et présenter aux autres ce qu’ils voulaient voir.

Information and attitudes about VIH-SIDA in Portuguese adolescents : State of art and changes in a four year period

Resumen tomado de la publicaci??n

Learning to teach art and design in the secondary school : a companion to school experience.

Este texto ayuda tanto a los estudiantes que se están formando a enseñar arte y diseño como a los profesores con experiencia que han optado por asumir la responsabilidad de impartir esta materia en la etapa 3 (KS3) del programa de estudios inglés, a alumnos de catorce a diecinueve años. Ofrece un marco conceptual y práctico para la comprensión de la naturaleza diversa del arte y el diseño y proporciona apoyo y orientación para su aprendizaje y enseñanza al plantear cuestiones, preguntas ortodoxas pero también para identificar nuevas direcciones.

How Millennials are changing the way we learn : the state of the art of ICT integration in education

Resumen basado en el de la publicaci??n

Plug-in : educaci??n art??stica y nuevos contextos tecnol??gicos

Resumen basado en el de la publicaci??n

Does experience in creative art influence the written self-expression of the deaf child?

This paper discusses whether participation in creative art affects the hearing impaired child's self expression in written language.

Rock art and social life - Revisiting the Neolithic transition in Mediterranean Iberia

This article revisits the Neolithic transition in Mediterranean Iberia taking into account an aspect usually neglected in the archaeological discourse: the rock art styles that emerged in this context. These distinct styles have been generally attributed to different populations, according to a historicist point of view that equates stylistic variability and ethnic identity. However, the recent recognition that they were developed by the same social group requires the formulation of an alternative explanation. My proposal is based on the exploration of the social context of production and consumption of the rock art, through the analysis of the patterns of location of the sites within the landscape and the definition of their archaeological context.

The Dark Monarch: magic and modernity in British art

This major curated exhibition, publication and events builds on Rowlands’ curatorial research. Working in collaboration with co-curators Martin Clark, Artistic Director, Tate St Ives and Michael Bracewell, cultural historian, the exhibition sought to explore new narratives within British art. The innovative curatorial methodology developed from a fiction found in the infamous novel, The Dark Monarch by Sven Berlin, Gallery Press 1962. The research sought specific archival and collection work that allowed thematic strands to emerge that represented influences across generations. The exhibition features two-hundred artworks, from the Tate Collection, archives and other significant British public and private collections. It examines the development of early Modernism, in the UK, as well as the reappearance of esoteric and arcane references in a significant strand of contemporary art practice. Historical works from Samuel Palmer, Graham Sutherland, Henry Moore and Paul Nash are shown alongside contemporary artists including Derek Jarman, Cerith Wyn Evans, Eva Rothschild, Linder and John Russell. The exhibition includes a key work by Damien Hirst ¬ the first time he has been shown at Tate St Ives and a number of contemporary commissions. The Dark Monarch publication extended the discourse of the research critically examining the tension between progressive modernity and romantic knowledge, the book focuses on the way that artworks are encoded with various histories - geological, mythical and magical. Essays examine magic as a counterpoint to modernity’s transparency and rational progress, but also draw out the links modernity has with notions such as fetishism, mana, totem, and the taboo. Often viewed as counter to Modernism, this collection of essays suggest that these products of illusion and delusion in fact belong to modernity. Drawing together 15 different writers commissioned to explore magic as a counterpoint of liberal understanding of modernity, drawing out links that modernity has with notions of fetish, taboo and occult philosophy. Including essays by Marina Warner, Ilsa Colsell, Philip Hoare, Chris Stephens, Jennifer Higgie and Morrissey.

Scanning LDV for vibration measurement of filiform hairs in crickets in response to induced airflow - art. no. 63450E

Cercal hairs represent in cricket a wind sensitive escape system, able to detect the airflow generated from predating species. These sensors have been studied as a biomimetic concept to allow the development of MEMS for biomedical use. In particular, the behaviour of the hairs, including airflow response, resonant frequency and damping, has been investigated up to a frequency of 20 kHz. The microscopic nature of the hairs, the complex vibrations of excited hairs and the high damping of the system suggested that the use of Laser Doppler vibrometry could possibly improve the test performance. Two types of tests were performed: in the first case the hairs were indirectly excited using the signal obtained from a vibrating aluminium plate, whilst in the second case the hairs were directly excited using a white noise chirp. The results from the first experiment indicated that the hairs move in-phase with the exciting signal up to frequencies in the order of 10 kHz, responding to the vibration modes of the plate with a signal attenuation of 12 to 20 dB. The chirp experiment revealed the presence of rotational resonant modes at 6850 and 11300 Hz. No clear effect of hair length was perceivable on the vibration response of the filiform sensors. The obtained results proved promising to support the mechanical and vibration characterisation of the hairs and suggest that scanning Laser vibrometry can be used extensively on highly dampened biological materials.