Les recherches regroupées dans ce présent volume sont présentées en lien avec trois grands courants de recherche en sciences humaines et sociales?: les études par voie d'enquête, les études sur le développement et l'apprentissage en contextes éducatifs informels et les recherches en lien avec les nouvelles technologies éducatives.
Questo libro è il risultato di un progetto di ricerca internazionale finanziato e con sede presso l'Università di Roma Tre (coordinato da Stefano Mastandrea). Lo scopo del progetto di ricerca è stato quello di creare un questionario su larga scala per indagare atteggiamenti, motivazioni, tratti di personalità, emozioni e processi di apprendimento in materia di visite museali da parte di giovani adulti. Il gruppo di ricerca era costituito da studiosi di otto diversi Paesi: Austria, Francia, Ungheria, Italia, Nuova Zelanda, Portogallo, Taiwan e Stati Uniti. I partecipanti della ricerca (N = 2.247) erano costituiti da un campione di studenti universitari senza specifica formazione artistica, provenienti da tre diversi Dipartimenti (psicologia, educazione e sociologia). I risultati principali hanno mostrato che circa il 75% del campione totale ha visitato almeno un museo negli ultimi 12 mesi e circa il 40% ha visitato tra 2 e 5 musei. I musei più visitati sono stati quelli di arte moderna. I partecipanti hanno riportato un buon livello di soddisfazione rispetto alle visite condotte. Complessivamente le emozioni prevalenti riferite alle visite erano la curiosità, l'interesse e il piacere; tuttavia, le emozioni variavano a seconda del tipo di museo visitato: godimento estetico per l'arte antica, godimento estetico e interesse per l'arte moderna, divertimento e curiosità per i musei scientifici. Nell’ottobre 2013 è stato organizzato a Roma, dal Dipartimento di Scienze della Formazione e dal Laboratorio di Psicologia Sperimentale dell'Università Roma Tre, un congresso a cui hanno partecipato tutti i partner internazionali del progetto presentando i risultati di ogni singola unità di ricerca. I dati e i risultati presentati al congresso e i successivi sviluppi costituiscono i capitoli di questo libro.
Emma Nardi, Introduction; Anja Bellmann, Stefan Bresky, Bernd Wagner, Early Childhood Education in Museums. Exploring History in the Deutsches Historisches Museum; Anna Asoyan, Armine Grigoryan, The Museum is the Guest of the School; Ana Luisa Nossar, Branca Pimentel, Elaine Fontana, Marina Herling, Maria Carolina Machado, Paula Selli, Babies at the Museum? At Segall, that’s happening!; María Antonieta Sibaja Hidalgo, Descubrir, experimentar, construir…; Ernesta Todisco, Summer Camp for children. Promoting the knowledge of the museum; Niko Bos, Developing Look & Learn cards; Annemies Broekgaarden, History adventure! You and the Golden Age; Anne-Sophie Grassin, Un dimanche avec des étudiants de Paris-Dauphine au musée de Cluny; Elvire Jansen, Inez Weyermans, Irma Enklaar, Wereldgrachten (World Canals); Antonella Poce, Promoting science: the creation of a scientific observatory to raise awareness on sea biodiversity; Susan Rowe, Seeds of Knowledge, Education, and Empowerment through a School Garden Project; Martin Bourguignat, Le Studio 13/16, espace dédié aux adolescents de 13 à 16 ans au Centre Pompidou; Cynthia Iburg, Nature Nocturne. Rediscovering the Museum as an Adult; Fabrice Casadebaig, Les Ateliers nomades; Nathalie Mémoire, Le Muséum chez vous; Anne Ruelland, Exposition-itinérante « Jardiner la ville »; Jesse-Lee Costa Dollerup, Tanya Lindkvist, The Art of Learning Language. An educational inclusion programme bringing together art, language and interculturality; Laura Evans, Building a Bridge? Understanding the Multicultural Impact of Islamic Art at the Dallas Museum of Art; Irene Balzani, Cristina Bucci, Luca Carli Ballola, Michela Mei, A più voci – With Many Voices. The Palazzo Strozzi project for people with Alzheimer’s and their caregivers; Coraline Knoff, Stéphanie Merran, Vincent Poussou, “Le Voyage”, une exposition au Centre Pénitentiaire Sud-Francilien; Angela Manders, Museum for One Day. A special museum experience on location; Paolo Campetella, Yes picture please!; Karine Lasaracina, L’art du réseau: un Musée en ligne; Kyle Soller, Ellen Bechtol, Leah Melber, Observe to Learn.
The premise of Anna Green's timely and original book, is that nineteenth-century representations of childhood and adolescence-in paintings, but also in other forms of visual culture and in diverse written discourses of the period-are critical for understanding modernity. Whilst such well-worn signifiers for modernity as the city, the dandy and the prostitute have been well mined, childhood and adolescence have not. Paintings of the young produced in France from 1848 to 1886, Green contends, inform not only our understanding of modern life but also our perception of modernist or avant-garde painting. Figuring largely are Manet and the Impressionists, as well as a gamut of more traditional painters of children who are crucial in providing context for the avant garde. Because modernity is an essentially urban phenomenon, Green's focus is primarily on the city, usually Parisian, child. The painted youth of her study are organized initially by class and gender. Then the chapters are structured according to themes (parent-child relations, modes of discipline, work, education, and play, the spectacle, sexuality) that straddle the congruences among the book's triple trajectory: the young, their modernist representations, and the experience of modernity. Green's interdisciplinary approach ensures that this book will be of interest not only to art historians but to all those concerned with the cultural and social history of childhood.
Humans have engaged in artistic and aesthetic activities since the appearance of our species. Our ancestors have decorated their bodies, tools, and utensils for over 100,000 years. The expression of meaning using color, line, sound, rhythm, or movement, among other means, constitutes a fundamental aspect of our species' biological and cultural heritage. Art and aesthetics, therefore, contribute to our species identity and distinguish it from its living and extinct relatives. Science is faced with the challenge of explaining the natural foundations of such a unique trait, and the way cultural processes nurture it into magnificent expressions, historically and ethnically unique. How do the human mind and brain bring about these sorts of behaviors? What psychological and neural processes underlie the appreciation of painting, music, and dance? How does training modulate these processes? Are humans the only species capable of aesthetic appreciation, or are other species endowed with the rudiments of this capacity? Empirical examinations of such questions have a long and rich history in the discipline of psychology, the genesis of which can be traced back to the publication of Gustav Theodor Fechner's Vorschule der Aesthetik in 1876, making it the second oldest branch in experimental psychology. The Oxford Handbook of Empirical Aesthetics brings together leading experts in psychology, neuroimaging, art history, and philosophy to answer these questions. It provides the most comprehensive coverage of the domain of empirical aesthetics to date. With sections on visual art, dance, music, and many other art forms and aesthetic phenomena, the breadth of this volume's scope reflects the richness and variety of topics and methods currently used today by scientists to understand the way our mind and brain endow us with the faculty to produce and appreciate art and aesthetics.
Pierre Julien: Sculptor to Queen Marie-Antoinette is a scholarly study of the artist (1731-1804) who rose from humble beginnings, the son of an illiterate carpenter, to become professor at the Paris Académie and director of the sculptural decoration at Marie-Antoinette's dairy at Rambouillet (1785-87), a surprise gift from Louis XVI. A moderate during the Revolution, Julien became one of the original members of the Institut National (1795). He executed life-size marble statues, part of the Great Men series, small works in terra cotta, and mythological figures such as Ganymede, Narcissus, and Cupid. His masterpieces are Amalthea, or Girl with Goat, the centerpiece at Rambouillet, and two statues in the Louvre: the Dying Gladiator, his reception-piece to the Académie, and Jean de La Fontaine, a statue of the author of Fables. The first major study of Pierre Julien in a hundred years, Pierre Julien: Sculptor to Queen Marie-Antoinette celebrates the 200th anniversary of the sculptor's death and coincides with the exhibition in Le Puy, France (Spring 2004). This volume is indispensable to art historians and anyone interested in the colorful period in French history between the age of Louis XV and the rise of Napoleon.
Deinstitutionalizing Art of the Nomadic Museum explores the possibility of the "nomadic museum" to facilitate social and political resistance through engagement with critical art practices and imagery. Grounded in a decade-long art therapy project in a contemporary art museum setting, this book offers a theoretically rich conceptualization of this experience. The text establishes an institutional critique of both the dominant psychopathology discourse and the instrumentalizations of art practices. Innovative in its approach, the results are analyzed in the framework of subjects such as hegemony-subalternity, subjectivity, resistance, the nomadic, critical art practices, narratives and minor language, deinstitutionalization, anti-psychiatries as well as institutional therapy. With a special focus on Latin America, international artists’ writings and works are intersected with the thoughts of curators and museum decision makers. The inevitable connection of the arts with social and political fields is highlighted, enabling the exploration of the intersections of art, critical analysis, social science, psychoanalysis, and political philosophy. This text will be of great interest to graduate and postgraduate students, academics, researchers, libraries and museums curators in the fields of art therapy, psychoanalysis, contemporary art, social & cultural anthropology, and political philosophy.
The Drowned Muse is a study of the extraordinary destiny, in the history of European culture, of an object which could seem, at first glance, quite ordinary in the history of European culture. It tells the story of a mask, the cast of a young girl's face entitled "L'Inconnue de la Seine," the Unknown Woman of the Seine, and its subsequent metamorphoses as a cultural figure. Legend has it that the "Inconnue" drowned herself in Paris at the end of the nineteenth century. The forensic scientist tending to her unidentified corpse at the Paris Morgue was supposedly so struck by her allure that he captured in plaster the contours of her face. This unknown girl, also referred to as "The Mona Lisa of Suicide", has since become the object of an obsessive interest that started in the late 1890s, reached its peak in the 1930s, and continues to reverberate today. Aby Warburg defines art history as "a ghost story for grown-ups." This study is similarly "a ghost story for grown-ups", narrating the aura of a cultural object that crosses temporal, geographical, and linguistic frontiers. It views the "Inconnue" as a symptomatic expression of a modern world haunted by the earlier modernity of the nineteenth century. It investigates how the mask's metamorphoses reflect major shifts in the cultural history of the last two centuries, approaching the "Inconnue" as an entry point to understand a phenomenon characteristic of 20th- and 21st-century modernity: the translatability of media. Doing so, this study mobilizes discourses surrounding the "Inconnue", casting them as points of negotiation through which we may consider the modern age.
