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1
DeWitt, John. „Poems Rising from an Endless Unsettled : the Obdurate Poetics of Clark Coolidge“. Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030066.
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L’œuvre poétique de Clark Coolidge est l’une des plus importantes et foisonnantes dans la poésie américaine d’après-guerre, mais aussi l’une des moins commentées. Dans cette thèse, je me réfère à ses innombrables essais, conférences et lettres, où il manifeste une préoccupation constante pour penser les bases de sa poétique. Les enjeux de sa poétique sont souvent conçus en lien avec les pratiques de nombreux écrivains, musiciens et artistes, que je présente également afin d’élargir le cadre contextuel de son œuvre. À partir d’une analyse des ouvrages poétiques centraux, j’articule les différents éléments et formes de sa question centrale, à savoir, l’expérience singulière de l’écriture. La singularité de la poésie, ce qu’il appelle son « obduration », désigne d’abord son irréductibilité à toute autre forme d’expérience et de langage. L’acte d’écrire consiste à prendre son héritage linguistique, culturel et artistique, et à le soumettre à un processus de transformation qui est à la fois profondément créatif et destructif, et qui aboutit aux formes irréductibles de la poésie. Si cette notion permet de rendre compte du lien de la poésie à ses sources matérielles, Coolidge articule également la cause, c’est-à-dire ce qui incite le mouvement d’écriture, à l’expérience énigmatique de l’inconnu. Je considère sa longue pratique de l’écriture comme une méditation prolongée sur ce qui échappe à la connaissance et au savoir. Cette méditation n’est ni austère ni réflexive, mais consiste au contraire en l’exercice du mouvement désirant et sans fin de l’écriture, ce qu’il appelle, en référence au jazz, une pratique d’improvisationClark Coolidge is one of the most influential and prolific poets of postwar American poetry, but also, considering his importance, one of the least commented on. I turn to a prodigious amount of overlooked material, including essays, poems, talks, and letters, to present the bases of his poetics. Coolidge often discusses his writing in reference to a myriad of writers, musicians, artists, and thinkers, whose work I also analyze in relation to his work, in an attempt to give a fresh and widened perspective on his literary context. I develop some of his overarching questions in relation to specific poetic works, to show the varying forms and articulations of his central concern for the singular experience of writing. Poetry’s singularity, what he calls its “obduration,” designates its resolute irreducibility to any other form of experience and language. The writing involves taking one’s linguistic, artistic and cultural inheritance, and subjecting it to a radical questioning and to a profoundly transformative process of creation and destruction. This process results in the irreducible forms of poetry. While this notion accounts for poetry’s material sources, he also designates its distinctly poetic source or cause as that which instigates the movement of writing, in relation to an enigmatic and transformative experience of the unknown. I develop his lifelong, almost daily writing practice as a sustained meditation on the unknown, one that is neither austere nor primarily reflexive, but that consists in the exercise of writing’s endless desirous movement, what he calls, in reference to jazz music, the practice of improvisation
2
Lyle-Smith, Eva Diane. „Nathaniel Clark Smith (1877-1934): African-American Musician, Music Educator and Composer“. Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277721/.
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This study is a biography of the life experiences of Nathaniel Clark Smith (1877-1934), an African-American musician, music educator and composer who lived during the early part of America's music education's history. Smith became one of the first international bandmasters to organize bands, orchestras, and glee clubs in schools and industries in the United States. Smith was raised and attended school on a military post. He later received a B.S.M.A. from the Chicago Musical College and a Masters in Composition from the Sherwood School of Music. He taught music at five educational institutions: Tuskegee Institute, Western University, Lincoln, Wendell Phillips and Sumner High Schools. Some of his students became prominent musicians. They were Lionel Hampton, Nat "King" Cole, Milton Hinton, Bennie Moten and Charlie Parker. Smith also worked with industries. He conducted the newsboys band for the Chicago Defender Newspaper and he became the music supervisor for the porters of the Pullman Railroad Company. Smith was stated to have introduced the saxophone to African-Americans and he was considered as one of the first composers to notate spirituals. Smith published over fifty works in America. One of his compositions received a copyright from England. His Negro Folk Suite, published by the Lyon and Healy Publishing Company, was performed by the St. Louis Symphony Orchestra. It received a John Wanamaker Award. His Negro Choral Symphony received a copyright in 1934. Smith became co-owner of the first Music Publishing Company owned by African-Americans, the Smith Jubilee Music Company.
3
Jones, Bryony Claire. „The music of Rebecca Clarke (1886-1979)“. Thesis, University of Liverpool, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406829.
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4
Pinckney, Eric Leonard. „Urban revitalization the Techwood/Clark Howell Homes revitalization effort Atlanta, Georgia, September 1989 through September 1993 : a case study for collaborative planning“. Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/21713.
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5
Murphy, S. Gannon. „A critical analysis of the openness theology of Clark H. Pinnock toward a reformed reconstruction of divine-human relationality“. Thesis, University of Wales Trinity Saint David, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683331.
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6
Scensor, Sean. „Irving Gill and rediscovery of concrete in California the Marie and Chauncey Clark, 1919-22“. Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/11480.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1995.Includes bibliographical references (p. 198-202).
The thesis focuses on a large residence by architect Irving Gill: the house for Marie and Chauncey Dwight Clarke in Santa Fe Springs, California (1919-22). The Clarke House was only discovered as a Gill building in 1981; and although praised by a prominent California historian as a project comparable in the strength of its design to Gill's masterpiece Dodge House (1914-16), there has been virtually nothing published on the project. The thesis attempts to collect the known information about the Clarke House; it documents the house through a series of new photographs, and provides a first set of drawings for the project. The Clarke House is set within the context of Gill's oeuvre in order to lay the groundwork for a wider critical interpretation. The thesis seeks a methodological approach which would avoid seeing Gill's work as either a purely regionalist phenomenon, or an example of Gill's proto-(European) modernism. Rather, the thesis adopts a method which could be called an "iconology of materials." A focus on the material context does not imply any obvious mechanistic relation between the properties of reinforced concrete and Gill's architectural forms - indeed, it will be shown that there is no obvious correlation. While Gill has become synonymous with the pioneering of concrete building technology in California, his interest in the material was always tempered by an intensely pragmatic social philosophy, predicated on economy. In proposing a cultural analysis of concrete in Gill's work, the thesis attempts to account for Gill's passion for reinforced concrete and his ambivalence to its structural potential. It analyzes how Gill exploited concrete's plasticity, monolithic quality, color, and surface effects. Comparisons of the Clarke House to several other major residences also built in Los Angeles c. 1920, show that he was not alone in the metaphoric rediscovery of concrete in California. Yet, the thesis argues that Gill's particular mastery of the material, as evidenced in the Clarke House, depended on his distillation of poignant symbolic images in the work.
by Sean Scensor.
M.S.
7
Preuss, Rosemary J., und University of Lethbridge Faculty of Arts and Science. „John Clark : transformation and the void : with a catalogue raisonné“. Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 1994, 1994. http://hdl.handle.net/10133/59.
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The intent of the thesis is twofold: interpretive and documentary. Volume 1 focuses on the work John Clark considered to be his mature oeuvre. The general structure is chronological, with the first three chapters devoted to formative influences, and a further chapter to what Clark had to say about meaning in his own work and that of others. The remaining four chapters offer an interpretation of the mature paintings in terms of two concepts: trasformation and the void. Annotated bibliographies and exhibition lists are included. The catalogue raisonne, volume 2, is an ongoing project to provide as complete a chronological record of Clark's known works as is possible: paintings, drawings (including working studies), prints, and reporduction histories are included. Appendices record missing and destroyed works, a bibliography of Clark's personal library, transcripts of three interviews and a lecture.29 cm.
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Protheroe, Gerald James. „Watching and observing : Sir George Clerk in Central Europe 1919-1926“. Thesis, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314213.
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9
Sullivan, Megan Anita. „Locating Abstraction: The South American Coordinates of the Avant-Garde, 1945-1959“. Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10954.
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This dissertation investigates how the project of abstraction, initiated in interwar Europe, was reconstructed, continued, and transformed in mid-twentieth-century South America. Through an examination of the work and thought of three key artists (Tomás Maldonado of Argentina, Alejandro Otero of Venezuela, and Lygia Clark of Brazil), it posits historical continuity and universality as both central problems of mid-century South American projects of abstraction and potential avenues toward a new understanding of their historical specificity. I identify three key features of interwar abstraction that were consciously continued in the work of Maldonado, Otero, and Clark: the adoption of abstraction not as a style, but as a progressive teleology with a linear history and singular goal; the ambition to reach the end of painting as an autonomous activity and integrate abstraction into the built environment; and the belief in the power of abstraction to forge new subjects and collectivities. In all three cases, the encounter of a universalistic project with particular socio-historical realities had resonances unanticipated by their European predecessors. Whereas abstraction in interwar Europe was intimately tied to struggles against bourgeois subjectivity and for a new form of egalitarian collectivity, artists in mid-century South America were rather faced with accelerated, state-driven developmentalism and the emergence of populist politics. Against this background, I demonstrate how each artist envisioned abstraction as a tool to contribute to or disrupt newly emerging forms of collectivity, contrasting Maldonado's insistence on an international, class-based collective, Otero's efforts to forge a modern national community, and Clark's advocating for a contingent intersubjectivity as a way of resisting top-down projects of collectivity. Finally, I investigate how the engagement with ideas of continuity and universality, as exemplified by these three artists, intersected with broader conceptions of historical progress and development circulating in Latin America between the Second World War and the Cuban Revolution. The rise and fall of abstraction in South America during this period, I conclude, was closely linked to the dream of catching up with "universal history" and its eventual abandonment.History of Art and Architecture
10
Ku, Hsiao-Yuh. „Education for liberal democracy : Fred Clarke and educational reconstruction in England 1936-1952“. Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/10020674/.
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This thesis explores the connection between the democratic ideas of Fred Clarke (1880-1952), an English educationist, and his contribution to educational reconstruction in England in the 1940s. By drawing on biographical method and documentary research, this thesis demonstrates that Clarke's democratic ideas reflected the ideals of liberal democracy and ways in which his ideas informed his positions on various issues of the educational reform and his actions or activities towards them, which constituted his substantial contribution to the reform. Three general themes in this thesis support the main argument. First, Clarke's ideas about the distinction between community and the State, his conception of equality, and his emphasis on free personality and moral qualities of all citizens found their roots in the ideals of liberal democracy, especially those of developmental democracy. Second, Clarke's ideas of democracy underlay his positions on educational issues such as the reorganization of the central authority; the public schools; the administrative system, selection and organization of secondary education; further education; teacher education and the teaching profession; and adult education. Third, Clarke contributed himself to the reform primarily through arousing and guiding public opinion by means of his speeches, writings, cooperative actions, engagement in professional organizations, and the publication of the first report of the Central Advisory Council, School and Life (1947), which were also in accordance with his ideas of democracy. Clarke also exerted his influence on cultural elites through discussion groups and on policy-makers and key figures through memoranda, private meetings and correspondence. Given these findings, this thesis helps fill a significant gap in the current knowledge as to Clarke's democratic ideas, his contribution to educational reconstruction in the 1940s, and above all, the intimate link between them. Moreover, it sheds some light on the nature and tensions of the major educational reform of this period.
11
Wild, Jonathan. „The day of inconceivably small things : representations of the office clerk in English literature from 1880 to 1939“. Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392711.
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Trinh, Huy Q. „The Southern Conference for Human Welfare and the Decade of Hope, 1938-1948“. Thesis, Boston College, 2009. http://hdl.handle.net/2345/697.
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Thesis advisor: Alan LawsonBefore the Civil Rights Movement began in the mid-1950s, an early movement led by white southern liberals fought for social and economic equality between the races. These men and women defied the stereotypes of bigoted white southerners and gradualist appeasers and challenged the norms and social customs of their region. Unfortunately, their legacy and accomplishments have largely been overshadowed by dramatic events of 1950s and 1960s. This thesis seeks to reexamine their work in view of their courage and unwavering determination to bring justice and equality to the South
Thesis (BA) — Boston College, 2009
Submitted to: Boston College. College of Arts and Sciences
Discipline: History Honors Program
Discipline: College Honors Program
Discipline: History
13
Brandenburg, Octavia. „Aspects of Performance in Three Works for Piano and Tape: Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages“. Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278378/.
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This dissertation primarily concerns performance aspects in compositions for piano and tape, using three specific works as the basis for discussion: Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages. These compositions are representative of the medium as a whole, yet each offers its own unique set of performance problems.
14
Greenshields, Mary Clare, und University of Lethbridge Faculty of Arts and Science. „The Amazon in the drawing room : Natalie Clifford Barney's Parisian salon, 1909-1970 / Mary Clare Greenshields“. Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of English, c2010, 2010. http://hdl.handle.net/10133/2606.
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This thesis is organised into two chapters and an appendix. The first chapter explores the significant American expatriate movement in France in the early part of the twentieth century, in an effort to answer the question ―Why France?‖ The second chapter examines the life and work of Natalie Clifford Barney, an American expatriate writer in Paris, who wrote predominantly in French and ran an important weekly salon for over sixty years. Specifically, her aesthetic and subject matter, her life, and her fraught publishing history are considered. The appendix is a translation of Barney's 1910 book of aphorisms entitled Éparpillements.v, 110 leaves ; 29 cm
15
Côrte, Artur 1956 (Côrte Real Artur 1956-). „Mosteiro de Santa Clara-a-Velha de Coimbra-novos dados para o seu conhecimento : operação arqueológica 1995-1999“. Master's thesis, Instituições portuguesas -- UC-Universidade de Coimbra, 2001. http://dited.bn.pt:80/29448.
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Garcia, Liliana Bueno dos Reis. „Rio Claro e as oficinas da Companhia Paulista de Estrada de Ferro : trabalho e vida operaria, 1930-1940“. [s.n.], 1992. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280756.
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Orientador: Michael MacDonald HallTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O objetivo deste estudo está fundamentado na organização do trabalho nas oficinas da Companhia Paulista de Estrada de Ferro, localizada na cidade de Rio Claro, Estado de São Paulo, nas décadas de 1930-1940. Visa o resgate da implantação pela ferrovia, já a partir de 1928, com a Reforma Administrativa, dos métodos de racionalização fundados nos princípios tayloristas de organização do trabalho. Esta reconstituição foi obtida através dos depoimentos dados pelos ferroviários e o que vai emergir é a forma como se encontra organizado o trabalho e a vida operária dentro de uma indústria metalúrgica inserida no contexto da ferrovia. A história que emerge é a história da vida e do trabalho dos ferroviários, ao se submeterem às normas rígidas de controle e opressão. Estas surgem em defesa da margem de eficiência e de organização espelhada pela ferrovia no período analisado. O resultado é a aceitação das normas disciplinares e o desenvolvimento de um sentimento arraigado pela ferrovia: o orgulho de pertencer à mesma e de ser ferroviário. A ideologia do trabalho, incutida pela Companhia Paulista de Estrada de Ferro nos ferroviários, foi tão intensa que chegou a moldar-lhes a visão de mundo, resultando em indivíduos que pouco fizeram para reverter essa situação. Entretanto, através de seu silêncio, eles manifestaram seus ressentimentos contra a opressão das normas, mostrando sua resistência em seus atos e em suas falas. O seu universo foi, porém, o mundo do trabalho e do engrandecimento da ferrovia. Nessa reconstituição vieram à tona vários elementos: o café, a ferrovia e o papel de ambos para o desenvolvimento da cidade de Rio Claro como centro urbano e ferroviário, chegando inclusive a ser conhecida como a "cidade ferroviária". Estes elementos são de suma importância, pois deram o suporte necessário para que as oficinas da Companhia Paulista alcançassem, nas décadas de 30 e 40, uma importância significativa, desenvolvendo e implantando a racionalidade capitalista via princípios tayloristas de administração cientifica.
Abstract: The objective of this work is based on a study of the work organization in the Companhia Paulista de Estrada de Ferro located in the city of Rio Claro, state of São Paulo, in the decade of 1930-1940. It's aim is the recovery of the implantation by the railroad, with the Administration Reform after 1928, of the racionalization methods founded on the taylorist principles of work organization. This reconstitution was obtained through statements given by railroad workers. What is going to emerge is the form in which work is presently organized in the life of workers within a metalworker's industry inserted in the railroad context. The story that emerges is the history of the life and work of the railroad workman as submitted to rigid norms of control and oppression. These norms arise in defense of the margin of efficiency and of organization mirrored by the railroad in the period analysed. The result was a complete acceptance of the disciplinary norms and the development of an ingrained feeling for the railroad, as well as a feeling of pride belonging to it and of being a railroad worker. The ideology of work impressed upon the workers by the Companhia Paulista de Estrada de Ferro was so intense that it molded the world vision of its workers. As a result, they became depoliticized individuaIs who did nothing to turn around this situation. However, through their silence, they manifest their resentment against the oppression of the rules, showing ways of resistance in their acts and statements. The world of the worker is the world of work and of making the railroad company powerful and famous. In this historical reconstruction, several elements come to the surface: coffee, railroad and the role of both in the development of the city of Rio Claro as an urban and railroad center. It even become known as the "railroad city". These elements are of great importance because they gave the necessary support for the Companhia Paulista de Estrada de Ferro to reach a significant importance in the 1930s and 1940s, developing and implanting the capitalist rationale by Taylorist principles of scientific administration.
Doutorado
Doutor em História
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Galina, Márcia Helena [UNESP]. „A Biogeografia no núcleo de Rio Claro (SP): análise e avaliação das contribuições científicas no período de 1969-2004“. Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/101324.
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galina_mh_dr_rcla.pdf: 5978263 bytes, checksum: d9a923866cbb7605e929327bfe026257 (MD5)Os objetivos da presente pesquisa compreenderam o resgate, o levantamento, a análise e a avaliação sistemática das contribuições e originalidades geradas pela produção científica na área de Biogeografia, desenvolvida no período de 1969 a 2004, por professores, pesquisadores e alunos do Departamento de Geografia e de Pós-Graduação em Geografia, Instituto de Geociências e Ciências Exatas de Rio Claro, da Universidade Estadual Paulista, mais diretamente envolvidos com a temática biogeográfica. A partir do levantamento anterior houve a classificação das pesquisas dentro das áreas específicas da Biogeografia, a fim de identificar as subáreas mais contempladas e as que vêm apresentando maior desenvolvimento. Também houve alusão às abordagens espaciais e às escalas mais comumente utilizadas nessas pesquisas. A divulgação do papel de destaque dos pesquisadores vinculados ao denominado Núcleo de Estudos Biogeográficos de Rio Claro na orientação e condução das pesquisas, tanto no estado de São Paulo como em outros estados, acabou naturalmente compondo o rol dos objetivos. A gênese da Biogeografia deu-se pelos esforços de pesquisadores que se dedicaram à investigação sobre a distribuição dos seres vivos, desde os primórdios, tais como os naturalistas, mas seu desenvolvimento e evolução somente foram possíveis pela dedicação de outros pesquisadores, como os do Núcleo de Estudos Biogeográficos de Rio Claro, sobretudo quanto à investigação sobre o relacionamento e funcionamento global das Biogeocenoses e dos Geossistemas.
The objective of this study was recovery the academic production in Biogeography, developed since 1969 until 2004, by professors, researchers and students of the Geography Department, Master and Doctor Degree of Geography Program, Geosciences and Accurate Sciences Institute of São Paulo State University, at Rio Claro, more directly involved with Biogeography subjects. Before this investigation, a systematic analysis and estimation of the contributions and originalities were made, and a classification of the works in the specific disciplines in Biogeography as well, for the purpose to identify the more contemplate areas and those that are showing more progress. It was given also an emphasis to the analysis of the space and the scales more common in these researches. Spreading the importance of the researchers in Nucleus of Biogeography Studies at Rio Claro to the development and conduction of these researches was a natural process of this work. The Biogeography's genesis was possible due the efforts of the researchers, since a long time, in studying alive-beings' distribution, like the naturalists did. But the development and evolution only had continuity by the dedication of other researchers (the Rio Claro's researchers, for example) in studies about the relationship and the global functionality of the Biogeocenoses and Geossystems.
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Wiegmann, Clara Susanne [Verfasser], und Tümmers [Akademischer Betreuer]. „Die Diskussion über die Ausgestaltung der DDR-Psychiatrie anhand ostdeutscher medizinischer Fachzeitschriften 1946-1989 / Clara Susanne Wiegmann ; Betreuer: Tümmers“. Tübingen : Universitätsbibliothek Tübingen, 2018. http://d-nb.info/1168232643/34.
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Galina, Márcia Helena. „A Biogeografia no núcleo de Rio Claro (SP) : análise e avaliação das contribuições científicas no período de 1969-2004 /“. Rio Claro : [s.n.], 2006. http://hdl.handle.net/11449/101324.
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Orientador: Helmut TroppmairBanca: Adler Guilherme Viadana
Banca: Lucy Marion Calderini Philadelpho Machado
Banca: Marta Felícia Marujo Ferreira
Banca: Juliana Augusta Verona
Resumo: Os objetivos da presente pesquisa compreenderam o resgate, o levantamento, a análise e a avaliação sistemática das contribuições e originalidades geradas pela produção científica na área de Biogeografia, desenvolvida no período de 1969 a 2004, por professores, pesquisadores e alunos do Departamento de Geografia e de Pós-Graduação em Geografia, Instituto de Geociências e Ciências Exatas de Rio Claro, da Universidade Estadual Paulista, mais diretamente envolvidos com a temática biogeográfica. A partir do levantamento anterior houve a classificação das pesquisas dentro das áreas específicas da Biogeografia, a fim de identificar as subáreas mais contempladas e as que vêm apresentando maior desenvolvimento. Também houve alusão às abordagens espaciais e às escalas mais comumente utilizadas nessas pesquisas. A divulgação do papel de destaque dos pesquisadores vinculados ao denominado Núcleo de Estudos Biogeográficos de Rio Claro na orientação e condução das pesquisas, tanto no estado de São Paulo como em outros estados, acabou naturalmente compondo o rol dos objetivos. A gênese da Biogeografia deu-se pelos esforços de pesquisadores que se dedicaram à investigação sobre a distribuição dos seres vivos, desde os primórdios, tais como os naturalistas, mas seu desenvolvimento e evolução somente foram possíveis pela dedicação de outros pesquisadores, como os do Núcleo de Estudos Biogeográficos de Rio Claro, sobretudo quanto à investigação sobre o relacionamento e funcionamento global das Biogeocenoses e dos Geossistemas.
Abstract: The objective of this study was recovery the academic production in Biogeography, developed since 1969 until 2004, by professors, researchers and students of the Geography Department, Master and Doctor Degree of Geography Program, Geosciences and Accurate Sciences Institute of São Paulo State University, at Rio Claro, more directly involved with Biogeography subjects. Before this investigation, a systematic analysis and estimation of the contributions and originalities were made, and a classification of the works in the specific disciplines in Biogeography as well, for the purpose to identify the more contemplate areas and those that are showing more progress. It was given also an emphasis to the analysis of the space and the scales more common in these researches. Spreading the importance of the researchers in Nucleus of Biogeography Studies at Rio Claro to the development and conduction of these researches was a natural process of this work. The Biogeography's genesis was possible due the efforts of the researchers, since a long time, in studying alive-beings' distribution, like the naturalists did. But the development and evolution only had continuity by the dedication of other researchers (the Rio Claro's researchers, for example) in studies about the relationship and the global functionality of the Biogeocenoses and Geossystems.
Doutor
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Pereira, Flávia Alessandra de Souza. „Organizações e espaços da raça no oeste paulista: movimento negro e poder local em Rio Claro (dos anos 1930 aos anos 1960)“. Universidade Federal de São Carlos, 2008. https://repositorio.ufscar.br/handle/ufscar/6665.
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Previous issue date: 2008-09-26Universidade Federal de Minas Gerais
In Organizações e Espaços da Raça no Oeste Paulista: Movimento Negro e Poder Local em Rio Claro (dos anos 1930 aos anos 1960) (Organizations and Spaces of Race in Western São Paulo State, Brazil: The Black Movement and Local Government in Rio Claro [from the 1930s to the 1960s] ) we try to comprehend the profile and shape of the black movement of the city of Rio Claro, and relations between this movement and the local government with regard to specifically racial demands. We focus on black spaces of sociability of Rio Claro, giving special attention to the identitary processes that shaped this sociability, and also to the demands that black actors addressed to the local government as part of the struggle for their own spaces of race in a white majority context, we emphasize, deeply marked both by open racism against blacks and by the impermeability of the local political system to blacks in general. It was in this context that the local black movement developed, over the course of decades, the basis for its collective mobilization for the long-desired house of its own a house that was materialized in its two social headquarters, finally built at the end of the 1960s. This research was supported by FAPESP (São Paulo State Research Fundation, Brazil, regular doctoral scholarship) and by CAPES (Coordination for the Improvement of Higher Education Personnel, Brazil, for foreign doctoral studies).
Em Organizações e Espaços da Raça no Oeste Paulista: Movimento Negro e Poder Local em Rio Claro (dos anos 1930 aos anos 1960) buscamos compreender o perfil e o formato do movimento negro rioclarense, e como esse movimento se relacionou com o poder local em suas reivindicações específicas de raça. Focalizamos os espaços de sociabilidade negra de Rio Claro, dirigindo especial atenção aos processos identitários que moldaram tal sociabilidade, e às demandas que os atores negros endereçaram ao poder local na busca por espaços próprios da raça ressalte-se, num contexto de ampla maioria branca, profundamente marcado tanto pelo racismo anti-negro a céu aberto, quanto pela impermeabilidade do sistema político local a negros em geral. Foi nesse contexto que o movimento negro local construiu, durante décadas, as bases de sua mobilização coletiva pela tão sonhada casa própria casa esta personificada por suas sedes sociais, finalmente erguidas em fins dos anos 1960. Essa pesquisa foi desenvolvida com apoio das agências FAPESP (para bolsa regular de doutorado) e CAPES (para estágio doutoral no exterior).
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Becker, Anne Lynn. „The layout of the land : the Canadian Pacific Railway's photographic advertising and the travels of Frank Randall Clarke, 1920-1929“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83171.
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This thesis examines the role of photography in making the Canadian Pacific Railway company (CPR) an integral part of Canadian mythology. It focuses on the company's photographic advertising in the 1920s, and the ways in which its increasingly nationalistic transcontinental brochures framed the country, and equated the act of travelling with nation-building and national identity.The CPR's tourist brochures established a visual vocabulary of the travelling experience, which was readily employed by individuals such as Montreal journalist Frank Randall Clarke. Clarke was sponsored by the CPR to travel across the country in the summer of 1929. His journalistic writing and personal photograph album allow for a rich analysis of the visual culture of the period, and they will be used to illustrate the ways in which the CPR represented Canadian progress, immigration, and tourism.
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Stevens, Daniel Brent. „Rebecca Clarke: A Viola Duo Transcription of the Prelude, Allegro, and Pastorale“. Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30513/.
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Throughout centuries of great classical music, many viola compositions have been crafted from a wealth of literature for instruments of similar range. Clarinet, violin, and cello concerti and ensemble literature often adapt into challenging literature for the viola. In November 2009, Oxford Music Publishing gave me permission to transcribe and perform the Prelude, Allegro, and Pastorale by Rebecca Clarke in New York's famed Carnegie Hall - Weill Recital Hall. This dissertation explains the process by which I transcribed the Prelude, Allegro, and Pastorale from an original Bb-clarinet/viola duo, to a new arrangement for two violas (approved by Oxford Music Press arrangement license #7007940), and discusses challenges faced throughout the transcription process.
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Brusantin, Beatriz de Miranda. „Anaue paulista : um estudo sobre a pratica politica da primera cidade integralista do Estado de São Paulo (1932-1943)“. [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279082.
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Orientador : Michael HallDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Este trabalho pretende analisar as práticas políticas do movimento integralista paulista, a partir da cidade de Rio Claro (SP), durante o período de 1932 a 1943. Através da documentação policial do epartamento Estadual de Ordem Política e Social (DEOPS), das imprensas municipais paulistas e integralistas e da Ata do núcleo da AIB de Rio Claro (SP), pesquisamos o perfil social dos militantes do Sigma e suas relações com os sindicatos ferroviários e a Igreja Católica nas décadas de 30 e 40. Desse modo, almejamos completar a historiografia contemporânea brasileira sobre o Integralismo paulista em âmbito municipal e compreender as bases sociais, culturais e políticas que deram suporte e contribuíram para que a cultura fascista se constituísse no Estado de São Paulo durante o primeiro governo Vargas
Abstract: This work seeks to analyze the political practices of the São Paulo Integralist. movement, based on a study of the city of Rio Claro (SP) between 1932 and 1943. Using , police archives from the State Department ofPolitical and Social Order (DEOPS), the local and Integralist press, and the minutes of the Rio Claro (SP) branch of the AIB, the study traces a social profile of the Sigma and its relations with the railway workers and the Catholic Church in the 1930s and1940s. The study thus seeks to fi1la lacuna in the Brazilian historiography on Integralism at the local leveI and to understand the social, cultural, and political bases which sustained and contributed to the establishing of fascist culture in the during the first Vargas govemment
Mestrado
Mestre em História
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Takeuchi, Teresa Midori [UNESP]. „Harry Clarke e a literatura: da pintura em vitrais à ilustração de livros“. Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/86894.
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takeuchi_tm_me_ia.pdf: 10619974 bytes, checksum: 140e20cef8b06f6d2a72d65f75ce6082 (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Universidade Estadual Paulista (UNESP)
Esta pesquisa consiste na análise do aspecto literário na produção artística do artesão e artista irlandês do início do século XX, Harry Clarke, e a sua habilidade em lidar com suportes diferenciados ao interpretar plasticamente obras literárias; inicialmente com a pintura em vitrais e, depois, com a ilustração de livros, sem abandonar o trabalho com os vitrais. Partindo do pressuposto de que o artista não é apenas um artesão especializado, mas comprometido com os novos desafios que a sociedade contemporânea apresenta, este texto objetiva apreciar alguns conteúdos que permitam o diálogo próximo entre pintura e poesia, ilustração e diferentes gêneros de obras literárias clássicas, reforçando a idéia de que as artes plásticas e as artes gráficas, interagindo com o texto literário, é um exercício para a leitura do mundo de maneira significativa e ao mesmo tempo lúdica.
This research involves the analysis of the literary’s aspects of artistic production of the Irish artist and craftsman of the early twentieth century, Harry Clarke, and his ability to deal with different media to interpret plastically literary works; initially with the stained glass and then with the illustration of books, without abandoning the first work. Based on the principle that the artist is not only an expert craftsman, as well as commited to the new challenges that contemporary society presents, this text aims to assess some contents that permit a close dialogue between painting and poetry, illustration and different genres of literary classics, reinforcing the idea that the fine arts and graphic arts, interacting with the literary text is an exercise in order to read the world in a meaningful way and at the same time in a playful way.
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Rutland, John Paul. „Violin and voice as partners in three early twentieth century English works for voice and violin“. Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Dec2005/rutland%5Fjohn%5Fpaul/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2005.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Apr. 18, 2002, and Oct. 25, 2005. Includes bibliographical references (p. 95-96).
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Chebahi, Malik. „L’Enseignement de l’architecture à l’École des beaux-arts d’Alger et le modèle métropolitain : réceptions et appropriations (1909-1962)“. Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST1049.
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En 1881, un atelier d'architecture est fondé à l'École nationale des beaux-arts d'Alger. Jusqu'en 1940, les programmes, les concours, ainsi que les jugements et les récompenses dépendent de patrons et de jurys locaux. À partir de 1940, l'atelier devient régional et intègre le giron de l'École des beaux-arts de Paris. C'est la seule structure appartenant à l'empire colonial français à s'être vu accorder ce statut. Alors que l'évolution des pensées architecturales et urbaines d'Alger durant la période française a fait l'objet de nombreuses recherches, l'histoire de la formation des architectes dans cette ville est quant à elle demeurée inexplorée. Cette thèse vient donc lever le voile existant autour du modèle pédagogique développé en Algérie. Elle examine en particulier la période entre 1909 et 1962. Ces limites chronologiques correspondent à la fois à une période mieux documentée et à deux moments importants pour l'institution architecturale. En effet, l'année 1909, marque la nomination du premier architecte français natif d'Algérie à la tête de l'atelier d'architecture. Cet avènement est le point de départ d'un enseignement de l'architecture plus structuré et mieux organisé. Quant à l'année 1962, elle signe la fin de la présence française en Algérie et la naissance de l'école algérienne. Cette recherche, qui fait confluer histoire de l'enseignement en France et histoire de la colonisation, s'est notamment construite sur les interrogations suivantes : quelle forme l'enseignement de l'architecture en Algérie a-t-il revêtu durant la période coloniale? Transplantation à l'identique du modèle pédagogique instauré par les Beaux-Arts de Paris, adaptation ou refondation? Quelle part a pris la dimension régionale dans l'éducation architecturale diffusée en Algérie ? L'intérêt de cette thèse est de situer l'enseignement prodigué à l'atelier d'architecture d'Alger par rapport au modèle pédagogique des Beaux-Arts de Paris, et de le replacer dans le contexte général de l'émergence d'une identité architecturale propre à la colonie. Au travers d'une analyse comparée entre la pédagogie diffusée à Paris et à Alger, cette recherche démontre qu'une structure formant à l'art de bâtir est indissociable du territoire qui l'abrite, de la population qui la fréquente, ainsi que de l'environnement politique et culturel qui l'entoure. Par ailleurs, cette thèse contribue à mettre à jour les transferts culturels et professionnels qui s'opèrent entre la métropole et sa « périphérie »In 1881, an atelier (studio) was founded at the École des Beaux-Arts in Algiers. Up until 1940, programs, concours, as well as judgments and rewards have depended on masters and local juries. From 1940, the atelier has been regional and included the bosom of the École des Beaux-Arts in Paris. This is the only structure belonging to the French colonial empire to have been granted this status. While the evolution of architectural and urban ideas in colonial Algiers was the subject of much research, the history of architectural education in this city has meanwhile remained unexplored. This thesis comes therefore to lift the existing veil around the pedagogical model developed in Algeria. It examines in particular the period between 1909 and 1962. These chronological limits correspond to both a period that is better documented and to two important moments for the architectural institution. Indeed, the year 1909 marked the appointment of the first French architect born in Algeria as the head of the architectural studio. This advent is the starting point for a more structured and better organized teaching of architecture. As for the year 1962, it signaled the end of the French presence in Algeria and the birth of the Algerian school. The interest is to place the education provided at the studio of architecture in Algiers in relation to the pedagogical system of the Beaux-Arts in Paris, and to replace it in the broader context of the emergence of an architectural identity that is specific to the colony. This research, which converge the history of architectural education in France and the history of colonization, is notably built on the following questions: what form has the teaching of architecture in Algeria taken during the colonial period? Was the transplantation identical to the pedagogical model introduced by the Beaux-Arts in Paris, adaptation or rebuilding? What part has the regional dimension taken in the architectural education disseminated in Algeria? Through a comparative analysis between the pedagogy disseminated in Paris and in Algiers, this research shows that a structure forming in the art of building is inseparable from the territory that houses it, the population that attends it, and the political and cultural environment that surrounds it. Furthermore, this thesis contributes to updating the cultural and professionals exchanges that operate between France and its colony
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Manzatto, Angelo Gilberto [UNESP]. „Dinâmica da comunidade arbustivo-arbórea em um fragmento de floresta estacional semidecidual localizada no município de Rio Claro, SP, durante o período de 1989-2003“. Universidade Estadual Paulista (UNESP), 2005. http://hdl.handle.net/11449/100623.
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As alterações na estrutura e na composição florística de um fragmento de floresta estacional Semidecidual foram descritos para o período de 14 anos (1989 - 2003). Esse fragmento, denominado Mata da Fazenda São José (MFSJ), apresentou para o período de estudo um aumento na densidade arbustivo-arbórea, entretanto houve uma diminuição da área basal total para a comunidade. A composição florística apresentou grande dinamismo, registrando a perda de 42 espécies e o ingresso de 38. As espécies dominantes apresentaram variações nos seus valores de densidade relativa, demonstrando que a estrutura fitossociológica é dinâmica, alterando-se ao longo do tempo. As análises multivariadas da vegetação indicaram a presença de quatro grupos vegetacionais relacionados aos quatro subgrupos edáficos identificados na área de estudo. As análises quantitativas e qualitativas da estrutura da comunidade demonstraram diferenças em cada um destes subgrupos, os quais apresentaram, ao longo do período de estudo, diferenças referentes às suas alterações na estrutura e na substituição das espécies. Essa característica tem modulado ao longo do tempo e projetado uma comunidade altamente diversificada, apresentando peculiaridades quanto às áreas que constituem o mosaico sucessional.
Changes in the structure and composition in the tropical semideciduous forest were described in 14-year-period. The studied fragment called Mata da Fazenda São José (MFSJ) presents under the studied period an increasing scrubs and trees density rate, however there was a decreasing rate on its total community basal area. The floristic composition showed great dynamism, indicating 42 species loss and 38 species gain. The main species presented variability on its relative density, demonstrating that the phytosociological structures is dynamic and changes as time passes by. The multivariate analysis of vegetation indicated four vegetation groups, related to the four different soil subgroups found on the study area. The quantitative and qualitative analysis over the community structures, presented differences on each of these groups which presented, along the studies period, differences related to its structure changing and species substitution. This characteristic has modulated and projected a highly diversified community showing different characteristics on the fields compounding the succession patch.
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Manzatto, Angelo Gilberto. „Dinâmica da comunidade arbustivo-arbórea em um fragmento de floresta estacional semidecidual localizada no município de Rio Claro, SP, durante o período de 1989-2003 /“. Rio Claro : [s.n.], 2005. http://hdl.handle.net/11449/100623.
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Orientador: Marco Antonio de AssisBanca: Ivan Schiavini
Banca: Ricardo Ribeiro Rodrigues
Banca: Osmar Cavassan
Banca: Frederico Augusto Guimarães Guilherme
Resumo: As alterações na estrutura e na composição florística de um fragmento de floresta estacional Semidecidual foram descritos para o período de 14 anos (1989 - 2003). Esse fragmento, denominado Mata da Fazenda São José (MFSJ), apresentou para o período de estudo um aumento na densidade arbustivo-arbórea, entretanto houve uma diminuição da área basal total para a comunidade. A composição florística apresentou grande dinamismo, registrando a perda de 42 espécies e o ingresso de 38. As espécies dominantes apresentaram variações nos seus valores de densidade relativa, demonstrando que a estrutura fitossociológica é dinâmica, alterando-se ao longo do tempo. As análises multivariadas da vegetação indicaram a presença de quatro grupos vegetacionais relacionados aos quatro subgrupos edáficos identificados na área de estudo. As análises quantitativas e qualitativas da estrutura da comunidade demonstraram diferenças em cada um destes subgrupos, os quais apresentaram, ao longo do período de estudo, diferenças referentes às suas alterações na estrutura e na substituição das espécies. Essa característica tem modulado ao longo do tempo e projetado uma comunidade altamente diversificada, apresentando peculiaridades quanto às áreas que constituem o mosaico sucessional
Abstract: Changes in the structure and composition in the tropical semideciduous forest were described in 14-year-period. The studied fragment called Mata da Fazenda São José (MFSJ) presents under the studied period an increasing scrubs and trees density rate, however there was a decreasing rate on its total community basal area. The floristic composition showed great dynamism, indicating 42 species loss and 38 species gain. The main species presented variability on its relative density, demonstrating that the phytosociological structures is dynamic and changes as time passes by. The multivariate analysis of vegetation indicated four vegetation groups, related to the four different soil subgroups found on the study area. The quantitative and qualitative analysis over the community structures, presented differences on each of these groups which presented, along the studies period, differences related to its structure changing and species substitution. This characteristic has modulated and projected a highly diversified community showing different characteristics on the fields compounding the succession patch
Doutor
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LaRoque, Kent A. „The 1934 Indian Reorganization Act and Indigenous Governance: A Comparison of Governance of Santa Clara Pueblo and the Turtle Mountain Band of Chippewa Nations — 1991 – 2000“. Thesis, Virginia Tech, 2004. http://hdl.handle.net/10919/33849.
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Native American communities are continually impacted by Federal Indian policy. Over one-half of all Native American nations function politically under the provisions of the 1934 Indian Reorganization Act (IRA). There are claims that many of these Native American communities experience intra-tribal conflict due to the lack of congruence between the tribal governments formed under the IRA and cultural traditions of governance. This claim was investigated via a comparative trend analysis of the Santa Clara Pueblo, operating politically under the IRA provisions, and the Turtle Mountain Band of Chippewa, operating under a constitutional form of governance outside of IRA provisions. After an historical analysis, an evaluation of tribal constitutions, and an examination of news media coverage for the period of 1991 – 2000, the project concluded that the legacies of the IRA are not the primary causal agent of intra-tribal conflict.Master of Arts
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Van, khanh Nguyen. „Mastocytes et eosinophiles des muqueuses au cours des infestations parasitaires : petits ruminants et dromadaires infestés par Oestrus Ovis (Linne 1761) ou Cephalopina titillator (Clark 1816), buffles (Bubalus bubalis) infestés par Gigantocotyle explanatum (Creplin 1847 - Nashmark 1937) ou Fasciola Gigantica (Cobbold 1885)“. Toulouse, INPT, 1999. http://www.theses.fr/1999INPT007A.
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Ce travail a eu pour objectif de rechercher les modifications des populations cellulaires de mastocytes et d'eosinophiles des epitheliums de ruminants infectes par divers mesoparasites. Les travaux ont fait appel aux techniques de l'histopathologie et a diverses colorations specifiques dans le but d'identifier les mastocytes sereux, les mastocytes muqueux, les globules leucocytes et les eosinopiles. La comparaison des populations cellulaires entre animaux indemnes ou infestes naturellement ou experimentalement a permis de confirmer l'existence de phenomenes d'hypersensibilite et de constater le developpement d'une certaine immuno-modulation. Les flux cellulaires sont responsables d'une destruction des parasites mais aussi du developpement de lesions souvent severes. Dans le cas d'strus ovis, une observation remarquable est la difference importante de mobilisation cellulaire entre le mouton et la chevre, entre infestations naturelles et experimentales. En ce qui concerne les autres parasites etudies chez le dromadaire (cephalopina titillator) ou le buffle (gigantocotyle explanatum ou fasciola gigantica), ce travail constitue la premiere exploration histopathologique des lesions induites et demontre aussi le role des phenomenes cellulaires dans la reaction de l'hote.
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Souza, Carlos A. Loiola de. „Carl Sagan: a exploração e colonização de planetas - ficção científica,cência e divulgação“. Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/13337.
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Previous issue date: 2006-05-29Sci - fi books depending on how they are structured by their authors, might be in our case, the astronomer Carl Sagan, be used as reference texts in Science History by his indisciplinity. The specific case of interplanetary trips, theorized and thought scientificaly and advertised under a sci - fi language in books of Carl Sagan, is what this dissertation talks about.The authors of fiction texts, such as Sagan Arthur Charles Clarke and Issac Asimov, try to found their extrpolate in careful notes of trends that happen in society and science, and develop the ( narration, in Asmov and Clarke´s case ) implication or advertising with rigidity and consistency.On the other hand, part of the futuristic literature would be an important History of Science analysis instrument, for it to be possible of thinking in alternative proposals for a scientific policy and taught which may have a social reach. A kind of experiment or imaginary exercise. In other words, what is studied here, is the relation between sci - fi and science, which talks about interplanetary trips, and how they are explained in Sagan´s books. However, the dissertation, delimitates, in the first instance, must be considered about interplanetary trips, its dissimilation from the 30´s to the 60´s and the adverstising through two of the best sci - fi writers of the twentieth century, whose work was to advertise scientific ideas or Astronautic for a better understanding of the science, its role and the impact of science and technology, in a society which moves really fast, but without many details. After all, as it was a relevant realization of some of these realized fantasies by Carl Sagan´s commitment, initially, with the American industial military complexduring the Cold War against USSR, and after that by NASA.And what we have learned scientifically from the exploration of the Solar Sistem and the nearest planets, in a way that the results of this spacial exploration could be advertised with the help from literature and fiction, in a type of alert about the problems that we will have to face in a near future. At last, the mankind destiny, imagined by Sagan in a kind of manifest advertised by himself in his main books and analysed here for it to be possible to keep its parallelism of contents and trends between sci - fi books and the academic literatureabout the development of science and technology and the destiny of mankind and the individuals that make itself. This is a conclusion that History students having a beginning or complementary graduation in humanities, will be able to find on the shelves of science history, a worthy manifest for an unexpective reflection or for a militancy
Obras de ficção científica podem, dependendo de como estiverem estruturadas por seus autores, em nosso caso, o astrônomo Carl Sagan, ser usadas como textos de referência em História da Ciência por sua interdisciplinaridade. O caso específico das viagens interplanetárias, pensadas e teorizadas cientificamente e divulgadas sob a linguagem da ficção científica nos livros de Carl Sagan, é o de que se ocupa esta dissertação. Os autores de textos de ficção, como os colegas de Sagan Arthur Charles Clarke e Isaac Asimov, procuram, como acontece com textos teóricos acadêmicos, assim como também eram alguns dos textos de Sagan, fundamentar suas extrapolações em observações cuidadosas de tendências em ação na sociedade e na ciência e desenvolver sua (narração, no caso de Asimov e Clarke) implementação ou divulgação com rigor e consistência. Ou seja, parte da literatura futurística seria um instrumento importante de análise de História da Ciência para que esta possa pensar em propostas alternativas para uma política científica e de ensino científico que tenha um alcance social. Uma espécie de experimento ou exercício imaginário. Em outras palavras, o que aqui se estuda é a relação entre ficção científica e ciência que fale das viagens interplanetárias e como elas estão expressas nas obras de Sagan. Portanto, a dissertação delimita o que, em primeiro lugar, deve-se considerar sobre as viagens interplanetárias, sua disseminação nos anos de 1930 a 1960 e sua divulgação através de dois dos melhores escritores de ficção científica do século XX, que se empenharam em divulgar idéias científicas ou de Astronáutica para uma melhor compreensão da ciência, do papel da ciência e do impacto da ciência e tecnologia numa sociedade com uma velocidade em movimento rápido, mas sem muitos detalhes. Depois, como foi a realização primordial de algumas dessas fantasias realizadas pelo envolvimento de Carl Sagan, inicialmente, com o complexo militar industrial dos Estados Unidos da América durante a Guerra Fria com a URSS e depois pela NASA. E o que se aprendeu, cientificamente, com a exploração de nosso sistema solar e de nossos planetas mais próximos, de maneira que esses resultados da exploração espacial pudessem ser divulgados com a ajuda da literatura de ficção em forma de alerta sobre os problemas que teremos de enfrentar num futuro bem próximo. E, por último, o destino da humanidade imaginado por Sagan numa espécie de manifesto divulgado por ele mesmo em seus principais livros e aqui analisado para que se pudesse manter o paralelismo de conteúdo e tendências entre as obras de ficção e a literatura acadêmica sobre o desenvolvimento da ciência e da tecnologia e o destino da humanidade e dos indivíduos que a compõem. Isto nos leva a concluir que o estudante de História da Ciência, tendo uma formação inicial ou complementar em humanidades, poderá encontrar na estante de História da Ciência um valioso manifesto para uma reflexão despretensiosa ou para a militância
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Simes, Peter A. „Literature in the Age of Science: Technology and Scientists in the Mid-Twentieth Century Works of Isaac Asimov, John Barth, Arthur C. Clarke, Thomas Pynchon, and Kurt Vonnegut“. Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30511/.
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This study explores the depictions of technology and scientists in the literature of five writers during the 1960s. Scientists and technology associated with nuclear, computer, and space science are examined, focusing on their respective treatments by the following writers: John Barth, Kurt Vonnegut, Thomas Pynchon, Isaac Asimov, and Arthur C. Clarke. Despite the close connections between the abovementioned sciences, space science is largely spared from negative critiques during the sixties. Through an analysis of Barth's Giles Goat-boy, Vonnegut's Cat's Cradle, Pynchon's The Crying of Lot 49, Asimov's short stories "Key Item," "The Last Question," "The Machine That Won the War," "My Son, the Physicist," and Clarke's 2001: A Space Odyssey, it is argued that altruistic goals of space science during the 1960s protect it from the satirical treatments that surround the other sciences.
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Parey, Armelle. „Représentations de l'ère victorienne dans le roman des iles britanniques (1969-1995) : "The french lieutenant's woman" de John Fowles, "The last testament of Oscar Wilde" de Peter Ackroyd, "Nice work" de David Lodge, "Possession" de A.S. Byatt, "Clare" de John Mackenna, "Poor things" d'Alasdair Gray“. Caen, 2000. http://www.theses.fr/2000CAEN1290.
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Cette these examine les representations de l'ere victorienne proposees par le roman des iles britanniques du dernier tiers du xxeme siecle. Les romans sont etudies en regard de la double specificite de l'ere victorienne : son ecriture et son image. Une double re-ecriture est a l'oeuvre dans ces romans qui participent d'un contexte litteraire postmoderne. D'une part, ils se positionnent par rapport au projet realiste qu'ils revelent comme une illusion : par le biais d'un jeu autour de documents dits factuels et/ou l'emploi de personnages "reels" ("the last testament 0f oscar wilde" de peter ackroyd, "clare" de john mackenna et "poor things" d'alasdair gray) ; par la presence d'intertextes victoriens apparents dans le mode narratif, l'intrigue et les conclusions qui lui sont apportees ("thefrench lieutenants woman" de john fowles, "possession" d'a. S. Byatt et "nice work" de david lodge). D'autre part, ils proposent une re-evaluation de l'ere victorienne qui s'appuie sur une perception de l'histoire selon laquelle celle-ci est une construction elaboree a partir de textes. L'etude de l'heroine victorienne vue par le xxeme siecle montre que celle-ci est une representation detournee deses comparses litteraires du siecle precedent. La presence de personnages atypiques remet en question les stereotypes sur la sexualite des victoriens. Tandis que certains romans offrent une representation interne du passe, d'autres affichent la distance temporelle et presentent ce faisant une approche critique du xxeme siecle et du postmodernisme.
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Marot, Sébastien. „Palimpsestuous Ithaca : un manifeste relatif du sub-urbanisme“. Paris, EHESS, 2008. http://www.theses.fr/2008EHES0085.
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En 1978, Rem Koolhaas publie Delirious New York, manifeste du sur-urbanisme contemporain (le programme invente le site). L'ambition de cette thèse est d'illustrer la poétique opposée du sub-urbanisme (le site invente le programme) à partir de la petite ville d'Ithaca (siège de l'université de Cornell) qui est l'inverse géographique de Manhattan (lac / île). Notre argumentation se développe en 3 temps: 1) Une thèse géographique consacrée aux 3 fondateurs de l'université: un ingénieur autodidacte, un amateur d'architecture et un extraordinaire botaniste 2) Une antithèse urbanistique qui suit Colin Rowe, O. M. Ungers et Rem Koolhaas jusqu'à l'époque où ils viennent chacun échafauder à Ithaca les intrigues de leurs 3 manifestes respectifs: Collage City, Berlin as a Green Archipelago et Delirious New York 3) Enfin une synthèse poétique consacrée à l'earth artist Robert Smithson (dont l'œuvre atteint sa maturité à Ithaca), à l'anarchitecte Gordon Matta-Clark (le meilleur étudiant que Colin Rowe ait jamais eu à Comell), et à Vladimir Nabokov (qui s'inspira d'Ithaca pour créer l'un des hyperpaysages les plus étonnants de la littérature contemporaine)In 1978, Rem Koolhaas published Delirious New York, the manifesto for contemporary super-urbanism (the program invents the site). The ambition of Palimpsestuous Ithaca is to illustrate the reverse poetics of sub-urbanism (the site invents the program), by focusing on the town of Ithaca (seat of Cornell University) which is the geographical opposite of Manhattan. Our demonstration is articulated in 3 parts: 1) a geographic thesis devoted to the 3 founding father of the university: a self-made engineer, an architecture enthusiast and an inspiring botanist; 2) an urbanistic antithesis following architects Colin Rowe, OM. Ungers and Rem Koolhaas up to the moment when they came to Ithaca to build up the plots of their respective manifestoes: Collage City, "Berlin as a Green Archipelago", and Delirious New York. 3) a poetic synthesis devoted to earth artist Robert Smithson (whose artistic adventure reached its maturity in Ithaca), anarchitect Gordon Matta-Clark (the best student Colin Rowe ever had at Cornell), and Vladimir Nabokov (who fantasized Ithaca into one of the most fascinating hyperlandscapes of contemporary literature)
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Cerisuelo, Marc. „L'Instauration du cinéma : Poétique des films et interprétation : L'exemple des métafilms hollywoodiens“. Paris 3, 1998. http://www.theses.fr/1998PA030188.
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La presente etude se propose d'illustrer les liens entre la poetique des films, l'histoire du cinema et la necessite d'une approche interpretative d'inspiration litteraire et philosophique. Une longue introduction presente la "discipline" en justifiant le recours au terme de poetique, et s'attache a demontrer - ou a rappeler - que le cinema n'est pas l'art de l'image. Une premiere partie definit la notion de metafilm, en la distinguant des autres productions consacrees au cinema et en proposant l'idee d'un genre ouvert. La seconde partie etudie le deploiement historique du genre a hollywood. La conclusion rappelle l'importance du mepris comme fil conducteur des etudes metafilmiquesThe object of this study is to establish the relationships between poetics of film, film history and the claim of an interpretation based upon a literary background and a philosophical point of view. A "metafilm" is not just one more "movie-about-themovies". This study will attempt to show how, from show people to fedora, the hollywood tradition provides a real discourse of the film
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Sequeira, Maria Luísa Paiva 1966. „O minimalismo nas produções escultórica e arquitetónica“. Doctoral thesis, 2013. http://hdl.handle.net/10451/8680.
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Tese de doutoramento, Belas-Artes (Escultura), Universidade de Lisboa, Faculdade de Belas-Artes, 2012Quando tudo se torna estético a própria noção de arte corre o risco de desaparecer. O facto de se privilegiar a imagem à custa de exercícios plástico-formais, de maior ou menor complexidade, tem conduzido a uma compreensão empobrecida do espaço construído, transformando o espaço social numa abstração fetichizada. Assim, debruçámo-nos, fundamentalmente, sobre a produção artística ao nível da escultura e da arquitetura, a partir de meados do séc. XX, de forma a compreender, de que modo os progressos tecnológicos que ocorreram, durante e após o período da 2ª grande guerra, tiveram uma influência determinante no processo conceptual de idealização da escultura e da arquitetura a partir de então. Para além disso, tomou-se como ponto de partida o movimento Minimalista, como o movimento artístico surgido durante a década de sessenta, que se afirmou por negar a arte cartesiana europeia, pela via fenomenológica e por contestar os limites disciplinares definidos pelo Modernismo. Neste campo indefinido, propício à pluralidade de linguagens e ao confronto de protagonismos, a emergência de uma estética “minimal” assumiu rapidamente um sentido disciplinador de contenção e economia visual. Uma espécie de estabilização canónica que traduziu uma prática escultórica e arquitetónica reconduzidas ao limite mínimo da sua expressão plástica.
When everything becomes aesthetic the concept of art itself becomes in danger of disappearing. The increasing focus on image, at the expense of plastic-formal exercises, of varying complexity, has led to an impoverished understanding of the built environment, transforming the space into a social fetishized abstraction. Thus, we focused primarily on the sculptural and architectural productions, from mid XXth century, in order to understand how the technological advances that took place during and after the period of the 2nd World War, had a decisive influence on the conceptual processes of idealization of sculpture and architecture since then, allowing an approximation of the two areas. The Minimalist movement, became a refernce to the contemporary art for its ability to deny the European Cartesian art throug fenomenology, besides it contested the Modernist limits of the arts and defended a new interdisciplinary way of understanding it. In this indefinite field, enabling the plurality of languages and the confrontation of protagonisms, the emergence of a "minimal" aesthetic quickly assumed a sense of discipline based in a restraint visual economy. A sort of stabilization canon that reflected a sculptural and architectural practice reduced to the minimum of its plastic expression.
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Dias, Fernando Paulo Rosa 1964. „A nova-figuração nas artes plásticas em Portugal : 1958-1975“. Doctoral thesis, 2008. http://hdl.handle.net/10451/1975.
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Tese de doutoramento, Ciências e Teorias da Arte, Universidade de Lisboa, Faculdade de Belas Artes,2009A Nova-Figuração emergiu com sentido histórico por oposição ao domínio da arte abstracta no segundo pós-Guerra. Pertencendo a um tempo cultural pós-metafísico e sem a mesma consistência da percepção do real e da verdade, ela redefiniu a questão da figuração fora da autoridade e exclusividade do sistema tradicional de representação. A figura já não apresentava a mesma estabilidade ontológica, para passar a operar experimentalmente, em pluralidade e abertura. Enquanto na arte ocidental ela enquadrou movimentos como Pop Art, Nouveau Réalisme ou Figuration Narrative, no caso português verifica-se uma síntese destas orientações, localizadas particularmente em cada percurso artístico. Foi paralelamente à superação da querela neo-realista entre forma e conteúdo, como depois da querela entre figuração e abstracção necessária à afirmação da abstracção nos anos 50, que emergiu a nova-figuração ao longo da década seguinte. Perante novos projectos figurativos a crítica de arte participou na construção da noção de «nova-figuração», definindo um espaço cultural próprio na arte portuguesa. Numa primeira fase entendemos a génese criativa da nova-figuração como processo ainda assente numa superação de experiências abstractas (na primeira metade dos anos 60), com destaque para os projectos de Joaquim Rodrigo, René Bertholo, Lourdes Castro, Costa Pinheiro ou António Areal. Activando o esforço de reinvenção de tradições figurativas, sobretudo herdadas do surrealismo e do neo-realismo, desenvolveram-se as obras de Eduardo Luiz, Carlos Calvet, Cruz-Filipe, Júlio Pomar, Nikias Skapinakis ou Sá Nogueira. Outros nomes surgiram na segunda metade da década ou seguinte, já sem necessidade de superar a recente tradição abstracta, casos de Henrique Ruivo, Álvaro Lapa, Palolo, Jorge Martins, Batarda, José de Guimarães, Noronha da Costa, entre outros. Na dinâmica portuguesa a nova-figuração permitiu reequacionar as vanguardas numa exploração experimental que, ao contrário da abstracção, era dirigida ao mundo e o abarcava. Abstracção; Arte Portuguesa; Figura; Nova-Figuração; Representação.
In the aftermath of World War II, New-Figuration emerged as an historically significant trend in opposition to Abstract Art. As a style belonging to a post-metaphysical cultural period (without the same solid perception of “realness” and of “truth”), it redefined issues of figuration outside the authority and exclusivity that characterized the traditional system of representation. In these new settings, figuration ceased to present the same ontological stability and started to function at the experimental level with plurality and openness. While in western art it framed movements such as Pop Art, Nouveau Realism or Narrative Figuration, in the Portuguese fine art scene we find a kind of synthesis of all these artistic tendencies, marking idiosyncratically each artist’s production. Neo-Figuration emerged in the 60s as a result of the double quarrel that opposed form and content (neo-realism quarrel) on the one hand, and figuration and abstraction (crucial for the establishment of abstraction in the 50s) on the other. Facing emergent figurative works of art, Portuguese art criticism was involved in the construction of neo-figuration as a concept that resulted in the definition of a cultural space of its own in the Portuguese fine arts field. In this dissertation we depict firstly the creative genesis of New-Figuration as a process that was constructed in the aftermath of the abstract experiences of the first half of the 60s, as it can be emphasized in the work of artists such as Joaquim Rodrigo, René Bertholo, Lourdes Castro, Costa Pinheiro or António Areal. However, stimulated by the idea of reinvention of figurative traditions (mostly inherited from Surrealism and Neo-Realism), artists such as Eduardo Luis, Carlos Calvet, Cruz-Filipe, Júlio Pomar, Nikias Skapinakis or Sá Nogueira, developed their work. Some other names emerged in the second half of the 60s and throughout the 70s that did not demonstrate the need to move beyond the abstractionist tradition. This is the case of Henrique Ruivo, Álvaro Lapa, Palolo, Jorge Martins, Batarda, José de Guimarães, Noronha da Costa, among others. In the Portuguese fine arts scene, New-Figuration allowed rethinking the avant-garde, and contrary to abstractionism, it was directed to the world, while embracing it at the same time. Abstraction; Portuguese fine arts; Figure; New-Figuration; Representation.
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Bishop, Adam. „With Them And Against Them: Canada's Relations With Nicaragua, 1979-1990“. Thesis, 2009. http://hdl.handle.net/10012/4681.
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Canada's relations with Nicaragua changed greatly during the 1980s after the Sandinista National
Liberation Front (FSLN) came to power in a revolution which overthrew the Somoza dynasty. For the
first few years of the new regime in Nicaragua, Canada provided little support, declaring that
Canadians had no significant interests in the country and there was no reason for them to get involved
in Central America's ongoing conflicts. When Brian Mulroney first came to power with Joe Clark as
his Secretary of State for External Affairs, the Progressive Conservatives generally held to the course
set by the previous Liberal government. However, as the 1980s went on the Conservatives began
providing Nicaragua with more bilateral aid, and became increasingly involved in the regional peace
process known as Esquipulas; this culminated in Canadian peacekeepers entering the region in 1990 as
part of a UN peacekeeping force. The major impetus for the government's change in attitude was the
strong and consistent pressure placed on the government by the Canadian public. Aid raised privately
by Canadians for Nicaragua overshadowed government aid for much of the decade, making the
government response look weak. The support of the Canadian public for action in Central America
was the major factor which pressured the federal government into becoming more involved in
Nicaragua, even though the government was not as supportive of the new regime in Nicaragua as a
large portion of the Canadian public often was.
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Allman, Sidney W. „Application specific integrated circuits for the Clarke and DQO transformations“. 1987. http://hdl.handle.net/1993/15425.
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Hocking, Jeffrey S. „Freedom Un/Limited: a Sympathetic Critique of Libertarian Freedom in the Open Theism of Clark Pinnock“. Thesis, 2008. http://hdl.handle.net/10756/288471.
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This thesis lays out a critique of the libertarian autonomy in Clark Pinnock's open theism. It contends that libertarian autonomy (defined as the choice to do otherwise) is unable to do justice to the fuller sense of freedom described in the biblical narrative. Offering more than a critique, this thesis suggests an alternative definition of freedom by qualifying Karl Barth's "freedom as obedience" as 'freedom as faithfulness'. As such, true freedom is contrasted to the autonomy that leads to evil, and is found beyond the false dichotomy of compatibilism and incompatibilism, heteronomy and autonomy. Freedom is recognized as a good gift of creation and a promise of the eschaton, and thus must be distanced from the shadow of evil which haunts human autonomy. Ultimately, this thesis contends that faithfulness to God as the source and call of life leads to responsive, transformative, and eschatologically unlimited freedom.
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Séguin, Marie-Hélène. „Le corps féminin et la tyrannie de la beauté dans Truismes de Marie Darrieussecq et Clara et la pénombre de José Carlos Somoza“. Mémoire, 2011. http://www.archipel.uqam.ca/4093/1/M11926.pdf.
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Notre mémoire porte sur la représentation du corps féminin dans deux œuvres littéraires : Truismes de Marie Darrieussecq (1996) et Clara et la pénombre de José Carlos Somoza (2003). À l'aide des théories féministes, nous tentons d'analyser ce que la beauté représente comme tyrannie pour les personnages féminins, qui doivent se plier aux standards esthétiques irréalistes imposés par la société dans laquelle ils évoluent. Ces normes correspondent à celles de la culture occidentale patriarcale actuelle, c'est-à-dire au corps construit, proche de l'objet artificiel. Dans cette optique, l'aspect naturel du corps est évacué; ce qui rappelle l'animalité est considéré comme laid. Le but de notre mémoire est de faire ressortir les similitudes et les différences entre les deux romans, qui proposent chacun une forme de matérialité différente : le corps animal et le corps-objet. Les études féministes ont montré que la femme a été reléguée à la matérialité en vertu de la dichotomie corps/esprit dans les conceptions judéo-chrétiennes. Dès lors, l'esthétique du corps est devenue pour elle un gage de valeur sociale. Fortement encouragée par la société à se plier aux critères de beauté, la femme doit livrer un combat perpétuel contre elle-même, physiquement et mentalement, afin d'y correspondre. Autrement; elle risque le rejet, le mépris et les mauvais traitements. Nous analysons donc le travail que les protagonistes font pour se conformer aux standards esthétiques et comment cette obligation d'être belle est aliénante pour elles. Nous constatons également qu'elles demeurent toutes deux marchandises, avec le manque de droits, de libertés et d'identité que cet état implique. Toutefois, elles résistent finalement à leur condition esthétique aliénante, en commençant par le refus de n'être que matérialité.
______________________________________________________________________________
MOTS-CLÉS DE L’AUTEUR : Corps, Femme, Beauté, Aliénation, Animal, Objet, Résistance, Truismes, Marie Darrieussecq, Clara et la pénombre, José Carlos Somoza
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Côrte-Real, Artur. „Mosteiro de Santa Clara-a-Velha de Coimbra : novos dados para o seu conhecimento : operação arqueológica 1995-1999“. Master's thesis, 2001. http://hdl.handle.net/10316/9743.
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Gerling, Daphne Cristina Capparelli. „Connecting histories: Identity and exoticism in Ernest Bloch, Rebecca Clarke, and Paul Hindemith's viola works of 1919“. Thesis, 2007. http://hdl.handle.net/1911/20682.
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Taking the end of the First World War as a starting point and the Elizabeth Sprague Coolidge Composition Competition as a meeting point, this study discusses three major works for viola of 1919: the Sonata for Viola and Piano by Rebecca Clarke, the Sonata Op. 11, No. 4 by Paul Hindemith, and the Suite for Viola and Piano by Ernest Bloch. The thesis places each work within the context of its composer's career and compositional development, focusing on key stylistic and historical features.
The study consists of five sections. First is a section establishing the historical background and cultural surroundings experienced by the composers and setting the stage for their work in 1919. In the three subsequent sections, particular attention is given to the stylistic features of each work in turn as well as to the influences that shaped them. Where possible, detailed biographical information about the compositional process is supplied; I then show how exotic influences and the heritage of the French style (through Debussy and Ravel) are present in each work. Other stylistic aspects are discussed on a piece-specific basis, namely the influence of Jewish traditional music in Bloch, English modality in Clarke, and Expressionism in Hindemith. Musical examples are given to illustrate the analyses. To end, a concluding section traces parallels between the composers' lives, the factors of greatest impact on their compositional identity, and the outcomes of Elizabeth Sprague Coolidge's composition competition, where the works by Bloch and Clarke took first and second places, respectively. (The work by Hindemith was not entered.)
The overarching goal of this study is to provide violists with a single comprehensive resource on these works and their shared history. To my knowledge, such a study is not currently available, and will be of use to performers wishing to learn more about these pieces, which are at the core of violists' repertoire today.
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„Conservação na arte contemporânea : curadoria como possivel estratégia de conservação? : estudo de duas obras apresentadas na exposição Alternativa Zero“. Master's thesis, 2011. http://hdl.handle.net/10451/3691.
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Tese de mestrado, Estudos Curatoriais, Universidade de Lisboa, Faculdade de Belas Artes, 2011This dissertation debates the adaptation of the ethics of conservation on account of the development of contemporary art modes of expression. The deliberate use of ephemeral materials, coupled with the importance of the intangible aspects of certain artworks, greatly contributes to the challenges that prevail in this area of the arts. This essay argues that the documentation and curatorship are important and potential conservation strategies. It compares the responsibilities of the conservator and the curator, as well as presents two case-studies of artworks exhibited at the 1977 Alternativa Zero, bearing different reasons for their ephemeral nature. For these two artworks, the essay includes relevant documentation such as direct statements from the artists and the production of schematic files, allowing for a possible reconstruction or reinstallation of these artworks in future exhibitions
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Gignac, Sylvie. „Du silence à la parole : étude comparative de La chambre au papier peint (1892) de Charlotte Perkins Gilman et du Cercle de Clara (1997) de Martine Desjardins“. Mémoire, 2008. http://www.archipel.uqam.ca/1183/1/M10483.pdf.
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Charlotte Perkins Gilman, une femme de lettres du XIXe siècle, a bien failli perdre, complètement et à jamais, sa capacité d'écrire au terme de traitements inappropriés pour sa dépression. Elle rédige un récit autobiographique et dénonciateur qui illustre son combat contre la science et la société de son époque. À la fin du récit, la narratrice, quoique anéantie, refuse de se soumettre et continue désespérément d'aller de l'avant. C'est une fin qui suggère, même au XIXe siècle, qu'elle (la femme, la Nature) avait raison, et que le médecin (l'homme, la Culture) avait tort. Au XXe siècle, Martine Desjardins reprend cette histoire sous forme de fiction. Notre étude comparative des deux oeuvres repose sur l'hypothèse principale selon laquelle Desjardins s'est largement inspirée du récit de Gilman pour rédiger son roman. De fait, les deux oeuvres, La Chambre au papier peint (1892) et Le Cercle de Clara (1997), l'une inspirée d'une histoire réelle et l'autre présentée comme imaginaire mais fort probablement inspirée de la première, racontent sensiblement la même histoire. Pourquoi une femme du XXe siècle a-t-elle choisi de réécrire cette histoire en disant « je » à son tour? En quoi le « je » d'une femme du XIXe siècle peut-il trouver écho chez celui d'une femme moderne? Et, comment, par l'écriture, la femme peut-elle exorciser ses souffrances et reconquérir son identité? Le premier chapitre de ce travail traite de la mise sous silence des femmes au XIXe siècle. Le second dresse le portrait de Charlotte Perkins Gilman et présente son récit autobiographique, puis le troisième porte sur la parole que les femmes ont reconquise au XXe siècle et met de l'avant les ressemblances et les différences entre les textes en mettant l'accent sur la modernité et le féminisme de l'oeuvre de Desjardins. Desjardins a rédigé son roman en hommage aux femmes qui ont donné leur corps et leur âme à la société pour permettre à celles d'aujourd'hui de pouvoir publier. Le « je » individuel de Gilman est donc, aujourd 'hui plus que jamais, collectif. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Féminisme, Écriture, XIXe siècle, Hystérie.
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Machado, Mafalda da Cruz. „Os Rapazes da Rua: Sanções Disciplinares Aplicadas aos Menores no Centro Educativo de Santa Clara em Vila do Conde nas décadas de 1930-1940“. Master's thesis, 2020. http://hdl.handle.net/10316/94707.
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Relatório de Estágio do Mestrado em Sociologia apresentado à Faculdade de EconomiaO presente relatório resulta do estágio curricular, no âmbito do Mestrado emSociologia da Faculdade de Economia da Universidade de Coimbra, com a duração dequatro meses, entre outubro de 2019 e fevereiro de 2020, que decorreu no Centro deEstudos Sociais (CES) da Universidade de Coimbra.O Centro de Estudos Sociais é uma instituição científica que se dedica àinvestigação e formação avançada nas ciências sociais e nas humanidades, através deuma abordagem inter e transdisciplinar. Realiza investigação para e com uma sociedadeinclusiva, inovadora e reflexiva, promovendo abordagens críticas face a alguns desafiosmais prementes das sociedades contemporâneas – e foi isso que me propus fazer. Amaior componente do estágio curricular foi a investigação permanente, leitura e análisedocumental, sobre os Centros Educativos e Reformatórios, tendo culminado nestetrabalho que reflete sociologicamente acerca das sanções disciplinares aplicadas aosmenores no Centro Educativo de Santa Clara em Vila do Conde entre as décadas de1930 e 1940, dando a conhecer o caso específico de um menino que lá viveu,autointitulado do “Rapaz da Rua”. Para além do trabalho realizado no CES, de referir aimportância dos documentos disponibilizados na Biblioteca da Direção-Geral deReinserção e Serviços Prisionais (DGRSP) e do Arquivo Histórico da DGRSP emLisboa, que sustentaram grande parte da investigação.No que respeita ao enquadramento teórico conceptual, é feita uma exposição devárias teorias de clássicos da sociologia, que dão a conhecer conceitos essenciais para acompreensão da génese dos Centros Educativos para menores. Já no desenvolvimentodo trabalho, são abordados aspetos concretos sobre a origem e modo de funcionamentodo Centro Educativo de Santa Clara em Vila do Conde, bem como as experiências devida dos rapazes que por lá passaram e relatos de “Pinho”, um rapaz de retratou a suapassagem nesta instituição através da pintura. Já na parte final do trabalho, são dadas aconhecer as motivações deste trabalho em específico e é feita uma análise dosresultados obtidos da investigação.
This report results from the curricular internship, in the context of the Master'sdegree in Sociology of the Faculty of Economics of the University of Coimbra, lastingfour months, between October 2019 and February 2020, which took place at the Centerfor Social Studies (CES) of the University of Coimbra.The Center for Social Studies is a scientific institution dedicated to research andadvanced training in the social sciences and the humanities, through an inter- andtransdisciplinary approach. It conducts research for and with an inclusive, innovativeand reflective society, promoting critical approaches to some of the most pressingchallenges of contemporary societies – and that is what I set out to do. The largestcomponent of the curricular internship was the permanent investigation, reading anddocumentary analysis, about the Educational and Reformatory Centers, culminating inthis work that reflects sociologically on the disciplinary sanctions applied to minors atthe Educational Center of Santa Clara in Vila do Conde between the 1930s and 1940s,making known the specific case of a boy who lived there , self-titled "Street Boy". Inaddition to the work carried out at ces, to mention the importance of the documentsmade available in the Library of the Directorate-General for Reintegration and PrisonServices (DGRSP) and the Historical Archive of DGRSP in Lisbon, which supportedmuch of the investigation.With regard to the conceptual theoretical framework, an extoll of varioustheories of sociology classics is made, which make known essential concepts forunderstanding the genesis of educational centers for minors. In the development of thework, concrete aspects about the origin and mode of operation of the Educational Centerof Santa Clara in Vila do Conde are addressed, as well as the life experiences of theboys who passed through there and reports of "Pinho", a young man who portrayed hispassage in this institution through painting. In the final part of the work, the motivationsof this specific work are made known and an analysis of the results obtained from theinvestigation is made.
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Jones, Jennifer A. (Jennifer Anne). „Aboriginal women's autobiographical narratives and the politics of collaboration“. 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phj7761.pdf.
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Bibliography: leaves 273-284. This thesis examines the autobiographical texts of the Aboriginal women writers, Oodgeroo, Margaret Tusker and Monica Clare, in light of the 'community of commitment' which supported their publications. It considers how and why the Aboriginal women elicted outside support and how the ideology of the group informed the epistemology of the text.The role of collaborating white editors and professional editors are examined as crucial in influencing the style and content of the finished piece. The original manuscripts are compared against the published editions and the changes implemented by the editor are described. Following Frantz Fanon and Homi Bhaba, the adoption of the white ideological lattice by the Aboriginal author is characterised as the white mask of colonial mimicry. The outcomes of cross-cultural impersonation of the white editor are discussed, with the editorial collaboration viewed as the imposition of stereotyped representations of Aboriginality.
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Jones, Jennifer A. (Jennifer Anne). „Aboriginal women's autobiographical narratives and the politics of collaboration / Jennifer Anne Jones“. Thesis, 2001. http://hdl.handle.net/2440/21762.
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Bibliography: leaves 273-284.284 leaves : ill. (some col.) ; 30 cm.
This thesis examines the autobiographical texts of the Aboriginal women writers, Oodgeroo, Margaret Tusker and Monica Clare, in light of the 'community of commitment' which supported their publications. It considers how and why the Aboriginal women elicted outside support and how the ideology of the group informed the epistemology of the text.The role of collaborating white editors and professional editors are examined as crucial in influencing the style and content of the finished piece. The original manuscripts are compared against the published editions and the changes implemented by the editor are described. Following Frantz Fanon and Homi Bhaba, the adoption of the white ideological lattice by the Aboriginal author is characterised as the white mask of colonial mimicry. The outcomes of cross-cultural impersonation of the white editor are discussed, with the editorial collaboration viewed as the imposition of stereotyped representations of Aboriginality.
Thesis (Ph.D.)--University of Adelaide, Dept. of Social Inquiry, 2001
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Marques, Ana Margarida Fernandes. „O meu corpo é uma ruína: as casas também morrem“. Master's thesis, 2019. http://hdl.handle.net/10451/40693.
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This is an investigation about ruins, that aims to explore the relationship between architecture and performatic body. Here, it’s presented the theoretical development about a multimedia work done within the last two years. Theory and practice have worked together and have always, depended on each other. Studying the notion of ruin was fundamental for the forward development of the body as a building. To work with and about ruins it is necessary to understand its relationship with the human being through the ages. It’s mainly an emotional e sensorial discovery about a ruin that is already built, bodily and then, inevitably, by the nature of the events, a moral ruin.
Therefore, this thesis has been divided in a chronological order, similar to the
path the work had gone through. The understanding of the romantic ruin, associated with nostalgy and contemplation of the Romantic period, going through the created ruin by mankind during Modernism, until the works done by contemporary artists, such as Gordon Matta-Clark, Robert Smithson e Rebecca Woodman, as references, not as inspirations but as examples of different ways to work different notions of ruin.
It became, also, important to analyze, even if briefly, de notion of psychosomatic body, that presents itself as a physical ruin in an emotional and psychological of empathy with its surroundings. The body tends to imitate its context. The attempt to present the work is seen as an experience which enables the most correct description of the event. Either way, those experiences will be presented, objectively. Also, it’s presented the tragic event that made the work to be extended in the future but in the present to be used as a moment of reflection. The instant devastation of the territory from where the object of ruin is from, imposed to be included the notion of catastrophe and therefore, the notion of immediate ruin, which until now the notion was the one of time and return to mother nature. To talk about ruin, we need to know how to wait. I too, learnt how to wait.
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Matos, Maria Margarida Vargas de 1989. „Conto tradicional ilustrado : um contributo“. Master's thesis, 2017. http://hdl.handle.net/10451/29056.
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The present work named “Traditional illustrated tale: A contribution” intends to reflect about the legacy of tales in Illustration and oral tradition, carrying out an illustration project.
The investigation began in the origins of tale to contextualize its cultural roots and the persistence of certain narratives over the ages. With the famous collections of the brothers Grimm in the beginning of century XIX, traditional tales where recognized for their historical value as a reflection of people’s identity. This nationalist character associated to the Romantic Movement, appealed to several authors that collected tales in their countries.
With the turn of the century there is a golden age in children's book illustrations and many authors turn to traditional tales has a great source with creative potential. The appeal of this illustrated books it´s in the diversity of stories and fantastical elements that bring to live the imagination of children and adults alike. I join this book illustration tradition with my practical work, by choosing a Portuguese traditional tale. This choice had in mind the disclosure of the Portuguese oral tradition unowned to me. Regarding the tale, the theoretical work consists of a systematization of research on the traditional tale and the contributions of the artists who illustrated it. There is also the theoretical foundation that accompanies the practical work, the influences, justification of stylistic options and artistic movements. The last part of the work is dedicated to the illustration project. I describe all the experience in a report of the process, reflecting about the difficulties, the learning and considerations on the illustration experiment. I present the different fases of the process from the sketches to the exploration of materials and their final result in the form of a model. Theory and practice complement each other to establish my course throughout this year of research and work and from which results the present dissertation