Дисертації з теми "Poetic system"

The practical thesis is based on a visual experimental poetry and its sign system. I am working with own sign system which was inspired by organized fence's structures. These structures were depicted by typographical signs which creates a new graphical compositions. Whole work is organized into three separated author's books. Their interconnection is emphasized by putting into a common case. The first book entitled Poetry of structure – Inspiration establishes contact with readers by means of photographs of spaces and fence's structures. The second book entitled Poetry of structure – Manual is an interlink of the work which informs readers both with the fence's structures and with the typographical compositions. Confrontation of the fence's photographs with the typographical compositions developed an advancement of the reality transformation to the abstract structure. The third book entitled Poetry of structure is the integral poetic anthology. The book presents both the blind blocking of typographical compositions themselves and the final experimental poems based on them.

In this study, a semiotic point of view of selected literature written by ‘coloured’ writers is examined, using some of the semiotic theories of Jurij M. Lotman, one of the leading Soviet semioticians of the school of Tartu. Selected theories of Lotman are applied to ‘coloured’ literature. These include an examination of poetic language (based on Lotman’s theory of a primary and secondary modelling system), the iconicity of the text, the aesthetics of identity and opposition, the distinction between text and extra-text, and the relationship that exists between the extra-text, culture and code. The literary texts chosen for analysis are works by three contemporary ‘coloured’ writers, namely Adam Small, Peter Snyders and Robert Pearce, who have all contributed poetry, prose and drama to Afrikaans literature in general, and original Afrikaans literature in particular. The selected dramas are Joanie Galant-hulle (Small 1978), Political Joke (Snyders 1983) and Die Laaste Supper in Marabastad (Pearce 1988b)*. These writers’ works span approximately three consecutive decades and their work can be examined for commonality and differences. The three chosen dramas were written five years apart respectively; yet they reveal thematic similarities. The dramas also feature a common ‘deviant’ language code used by ‘coloured’ people and discussed in this study as original Afrikaans. This code, which is juxtaposed with standard Afrikaans, is one of the basic areas of interest that motivated the choice of subject for this study. The primary objective of this study is to examine the differentiation that Lotman makes between the various sign systems that operate in natural language (the primary modelling system) and poetic language (a secondary modelling system), and to determine whether these sign systems can be detected and are functional in ‘coloured’ literature. In addition, an investigation is made of the iconicity that operates in poetic language (which, according to Lotman, is the basis for differentiation), and to ascertain whether iconicity occurs in these examples of ‘coloured’ literature and to what extent it influences meaning. In the process, intratextual relations within the poetic text were scrutinised to establish whether the manipulation of language, devices and codes raises any particular expectation in the poetic text, and also to detect whether oppositionally constituted code-systems which set up their own patterns of expectation within the syntactic and lexical levels of the poetic text clash with and contradict prior expectations. In addition, an analysis has been made to determine whether a new understanding of the texts can be reached, based on Lotman’s aesthetics of identity and opposition, and to what extent the reader is forced to collaborate in the modelling process of the texts when the reader’s expectations are undermined by an aesthetics of opposition. The study has successfully corroborated and substantiated all the selected aspects of Lotman’s theory. The differentiation that Lotman makes between the primary and secondary language model is demonstrated especially by the iconicity that operates in poetic language. Examples are abundant in the selected literature and are conspicuous, especially through the manipulation of the language, devices and codes employed by the authors to defamiliarise objects so that they transcend their familiar characteristics and perceptions, and sometimes signify a totally new concept. In this way, readers’ expectations are subverted and they are invited to collaborate in the modelling process of the texts. These techniques are also an integral part of both the text and the extra-text, and their presence justifies Lotman’s claims that the meaning of a literary text cannot be understood outside its cultural or historical context. In retrospect, it can be argued that this research has opened up some additional avenues for an analysis of meaning in ‘coloured’ literature.
Dissertation (MA (English))--University of Pretoria, 2004.
English
unrestricted

This thesis argues for the use of what I term `poetic methods' in approaching the study of Global Navigation Satellite Systems (GNSS) infrastructures. Poetic methods frame research experiments with techniques drawn from art practice and build understandings of an infrastructure's actions, or the \texture" [1] of those actions by leveraging symbol and metaphor. This work is situated in an interdisciplinary space across Human Computer Interaction (HCI), art, design and the study of Science, Technology and Society (STS). The theoretical grounding of the work draws on Actor Network Theory (ANT) and Karen Barad's intra-activity [2] to emphasise sociotechnical practices and objects as emergent across combinations of material agency. From Bowker and Star's concept of infrastructural inversion [1], I argue that infrastructures become visible through points of breakdown. To probe GNSS infrastructure, I stage an experiment where its smooth operation is disrupted. Re-framing the infrastructure in this way draws participant's attention to its influence in forming practices. I then use a second method of short form speculative design [3] workshops to have participants think about scenarios where the user is pushed further into the background and user and infrastructure are understood as nodes in `more-than-human-networks'. Alongside this participant-facing research work, I give an account of artworks that developed from my own practice in response to the research questions. These are understood as deep responses to the design workshops' prompt to re-think how we understand the actions, influence and ontology of GNSS infrastructures. At the end of this art and research process I have a finished artwork and several sets of rich qualitative data. I use these to understand how effective my techniques are in achieving infrastructural inversion, diagnostically understanding the actions of GNSS infrastructure and the texture of how those actions are felt by participants, and interrogating ontological questions around concepts of `user' and `infrastructure'. I argue that the poetic methods offer an innovative set of techniques that can be added to a wider research project to help interrogate blackboxing, practically achieve infrastructural inversion and begin to move towards ontological critique. These offer a new methodological tool to STS researchers and contribute to HCI debates around non- user-centered design practices. I offer some suggestions for further refinements to these techniques and point towards some possible future work.

The present work analyzes the so-called 'system' of lyric genres within medieval romance literatures, selecting as field of investigation the Occitan, Old French and Galician-Portuguese traditions. The aim is to verify the solidity of the lyrical taxonomies developed in the modern era, determining to what extent they actually correspond to the data obtainable from the analysis of ancient sources and questioning the applicability of the concepts of 'genre' and 'system' to the medieval literary context. To this end, the present work deals separately with the three traditions, identifying within each of them some significant research areas to reconstruct the degree of distinctive consciousness possessed by the authors and the public of Troubadour poetry. The study starts from the analysis of the author's metageneric terminology; through the quantitative and qualitative analysis of the terms used in the practice of self-designation of the text and in the metapoetic reflections have been identified some genres well recognizable at the time of production of the lyrics, while other categories have been proved to be devoid of an explicit acknowledgement by the authors or provided of a still uncertain degree of specialization. At the terminological level the three linguistic areas have shown some inevitable points of contact, but each of them then has distinguished itself for having developed a range of terms functional to the specific repertoire. The study of lyric texts has been accompanied by the examination of the manuscript tradition, always with the aim of finding information related to the degree of recognizability of generic categories. Initially we have focused on the individual manuscript witnesses, studying the phenomenology of the generic ordering criterion within the anthologies. For each tradition, an overall picture has been presented through a wide range of cases, which took into account the presence of generic sections and more or less explicit groupings of typologically homogeneous texts. A very diversified scenario has emerged: not only each lyrical tradition, but also the single manuscript witnesses show that they have made independent choices in the distribution of the texts and in the emphasis given to the different genres. Analogies and differences have been further underlined at a later stage, when the discussion has taken the point of view of the textual categories, analyzing in a transversal way the position and the weight of the single genres within the manuscript tradition of romance lyric. The study of the chansonniers has led us to focus on a further aspect: the paratextual apparatus, although marginal compared to the lyric text, are in fact the bearers of a great deal of information related to the genre of poems. In all the three lyric traditions analyzed, the rubrics have proved to be fundamental in providing confirmations or additional data in relation to the degree of recognizability of some genres and to the perception that copyists and compilers of songbooks had of them. The data emerged from the survey carried out within the lyric tradition have been then compared with those obtained from the analysis of external (but chronologically not too distant from the era of production of the lyrics) textual corpora, as in the case of the Provençal vidas and razos or the first Old French novels with lyrical insertions. Also medieval treatises have proved to be a particularly profitable research area: they manifest the will to offer, for the first time in a systematic way, a comprehensive overview of medieval lyric genres, although the witness of the artes poeticae is the result of a retrospective reflection and concerns in a very unequal way the three lyric traditions. On the basis of information gathered within the ancient sources, we have proceeded to a critical examination of the repertoires published in the modern era, trying to highlight their strengths and problematic aspects; the operation has led to a reconsideration of some categories of doubtful legitimacy, such as the Provençal sirventes-canso and the Galician-Portuguese escarnio de amor. Although it cannot be denied that medieval authors had the perception of the existence of certain textual categories (corresponding to our 'genres'), the overall picture is so differentiated - not only between different repertoires, but also within the same repertoire - that speaking of 'one' system of genres has proved to be substantially groundless for the complex of medieval romance lyric.

A poesia popular, fenômeno cultural que tem origem no Nordeste do Brasil, é uma prática social consagrada através dos tempos pela tradição e quando vista como fenômeno de linguagem, representa um campo da atividade humana em que gêneros textuais são materializados na oralidade e na escrita. Neste trabalho, a poesia popular nordestina é tratada do ponto de vista da relação fala-escrita no continuum linguístico. Os gêneros selecionados são o cordel, gênero escrito da poesia popular, o repente, como gênero ontologicamente oral no contexto da cantoria de viola, e nesse contexto de produção reconhecido como cantoria, e a peleja virtual, gênero digital emergente que reúne elementos textuais dos dois primeiros. A peleja virtual constitui-se enquanto gênero à medida que os poetas cordelistas se reunem no espaço cibernético para produzir poesia, utilizando as mesmas estratégias de textualização de suas contrapartes, o cordel e a cantoria, fazendo uso, no entanto, de uma nova tecnologia, a internet, e tendo como modo de produção a escrita digital em lugar da oralidade e da escrita tradicional dos folhetos. Esses gêneros são analisados aqui, a partir de suas semelhanças a priori, para serem distribuídos no continuum linguístico que se dá na relação fala-escrita. Aspectos como oralidade e escrita, marcas de transmutação de gêneros antigos em novos gêneros textuais, bem como a análise de gêneros e o debate sobre o hipertexto são discutidos neste trabalho.
Popular poetry is a cultural phenomena originated in the Northeastern Brazil. A social practice recognized through time and tradition that when seen as a language phenomena represents one field of human activity in which genres are materialized, either in oral and written forms. On this work popular poetry is treated in the relation speech-write from the standpoint of the linguistic continuum. The selected genres for this research are cordel, written genre of popular poetry, repente as a genre ontologically oral, therefore recognized by the name of cantoria because of its context of production and virtual contention, a digital emergent genre which is formed by textual elements of both the spoken and written ones, cordel and cantoria for this matter. The virtual contention exist as genre when is the virtual meeting between poets in the cyberspace to produce poetry takes place, as they use the same strategies of textualization of its counterparts, cordel and cantoria, on the other hand making use of a new technology: the internet. These three genres were analyzed from the stand point of their resemblances a priori, as to be distributed inside the linguistic continuum which occurs in the relation between spoken and written genres. Aspects such as speech and writing, the debate on hypertext, as well as the principle of transmutation of the existent genres to originate others with their own characteristics and the analysis of genres are the central points in this investigation work.

Beaumarchais fait son entrée dans le théâtre français en crise. Comment écrire en tant que dramaturge ? Trois procédés s’offrent à lui : développer une théorie de la fusion déjà entamée par d’autres précurseurs : Fontenelle, Nivelle de la Chaussée, Destouches, Voltaire et Diderot. Tout d’abord, en préconisant la fusion du comique et du dramique, il stimule des effets de gaieté et d’attendrissement chez son public, annonce officiellement la naissance du nouveau genre : le Drame. Ceci dépasse la séparation nette entre le tragique et le comique, faisant ainsi au sein du genre théâtral un premier pas vers une révolution qui implique de nombreuses possibilités. Ensuite, en introduisant des éléments narratifs dans le genre théâtral, il effectue une fusion entre le roman et le théâtre, révolutionne ainsi le concept de genre dramatique. La poétique dramatique chez lui n’est pas qu’une question d’esthétique formelle, mais relève de l’extension littéraire de sa vie de combattant aux plans historique, social, politique de son époque. Dans une perspective de réception, son utilisation du discours métadramatique permet à son public d’être en permanence entre distance et illusion. Ceci révolutionne le rapport scène-public et exercera une influence considérable sur sa postérité. Au sens large, le discours métathéâtral de Beaumarchais dépasse son temps. La circulation séculaire de la trilogie espagnole permettra au public chinois d’étudier l’adresse singulière de Beaumarchais sur sa poétique dramatique et ses riches connotations idéologiques qui se mêlera dans l’histoire, la société et l’esthétique chinoises. Ainsi, Beaumarchais et ses œuvres s’intégreront à la généalogie de la littérature étrangère classique en Chine, et deviendront un événement typique de la littérature mondialisée
Beaumarchais made his dramaturgical entry when French theatre was undergoing a crisis. How to write as a playwright? He solved this issue on three levels and developed a theory of fusion already started by other precursors: Fontenelle, Nivelle de la Chaussée, Destouches, Voltaire and Diderot. First of all, by advocating the fusion of the comic and the dramatic, he stimulated the effects of gaiety and tenderness in his audience, officially announcing the birth of the new genre: Drama. This overcomes the clear separation between the tragic and the comic, thus taking the first step within the theatrical genre towards a revolution that opens up a whole range of possibilities. Then, by introducing narrative elements into the theatrical genre, he achieved the fusion between the novel and the theatre, revolutionising the concept of dramatic genre. For him, dramatic poetics was not just a question of formal aesthetics, but of the literary extension of his life as a fighter, which relates to the historic, social and political context of his time. From a reception perspective, his use of metadramatic discourse allowed his audience to be constantly wavering between distance and illusion. This revolutionised the relationship between stage and audience, and had a considerable influence on his posterity. In the broadest sense, Beaumarchais’ metatheatrical discourse transcended his time. The secular circulation of the Spanish trilogy will enable Chinese audiences to study Beaumarchais' singular address on his dramatic poetics and its rich ideological connotations, which will blend into Chinese history, society and aesthetics. In this way, Beaumarchais and his works will become part of the genealogy of classical foreign literature in China, and a typical event in the world literature

This thesis comprises a book-length creative work accompanied by a set of essays. It explores how poetry might bring together spiritual and scientific discourses, focusing primarily on philosophical Daoism (Taoism) and contemporary physics. Systems theory (the science of complex and self-organising systems) is a secondary focus of the creative work and is used metaphorically in theorising the writing process. The creative work, “A coat of ashes”, is chiefly concerned with the nature of being. It asks, “What is?”, “What am I?” and, most urgently, “What matters?”. To engage with these questions, it opens a space in which voices expressing scientific and spiritual worldviews may be heard on equal terms. “A coat of ashes” contributes a substantial number of poems to the small corpus of Daoist-influenced poetry in English and adds to the larger corpus of poetry engaging with the sciences. The poems are offset by a metafictional narrative, “The Dream”, which may be read as an allegory of the writing journey and the struggle to combine discourses. The four essays articulate the poetics of “A coat of ashes” by addressing its context, themes, influences, methodology and compositional processes. They contribute to both literary criticism and writing theory. Like the creative work, they focus on dialogues between rationalist or scientific discourses and subjective or spiritual ones. The first essay, “An introduction”, discusses the thesis itself: its rationale, background, components, limitations and implications. The second, “Singing the quantum”, reviews scholarship discussing the influence of physics on poetry, then examines figurative representations of physics concepts in selected poems by Rebecca Elson, Cilla McQueen and Frederick Seidel. These poems illustrate how contemporary poetry can interpret scientific concepts in terms of subjective human concerns. The third essay, “Let the song be bare”, discusses existing Daoist poetry criticism before considering Daoist influences in the poetry of Ursula K. Le Guin, Randolph Stow and Judith Wright. These non-Indigenous poets with a strong awareness of the sciences have, by adopting Daoist-inflected senses of the sacred, been able to articulate the tension engendered by their problematic relationships with colonised landscapes. Moreover, the changing aesthetic of Wright’s later poetry reflects a struggle between Daoist quietism and European lyric commentary. The final essay, “Animating the ash”, reflects on the process of writing poetry, using examples from “A coat of ashes” to construct a theoretical synthesis based on Daoism, systems theory and contemporary poetics. It proposes a novel way to characterise the nature and emergence of the hard-to-define quality that makes a poem a poem. This essay also discusses some of the Daoist and scientific motifs that occur in the creative work. As a whole, this project highlights the potential of both the sciences and the more ancient ways of knowing — when seen in each other’s light — to help us apprehend the world’s material and metaphysical nature and live harmoniously within it.

O sistema verbal do hebraico bíblico tem sido objeto de debate desde o início dos estudos gramaticais até os dias atuais. As conjugações de sufixo e prefixo, com ou sem a presença do waw prefixado (respectivamente, as formas verbais: qatal, yiqtol, weqatal e wayyiqtol) tomam uma parte central nesse debate devido à grande amplitude de significados que possuem na Bíblia Hebraica. A presente pesquisa propõe-se a apresentar as várias correntes teóricas acerca da interpretação do significado e relação dessas quatro formas verbais e também o uso das mesmas nos textos narrativos e poéticos da Bíblia Hebraica.
The verbal system of Biblical Hebrew has been the subject of debate since the beginning of grammatical studies until today. The suffix and prefix conjugations, with or without the presence of prefixed waw (respectively, the verbal forms: qatal, yiqtol, weqatal e wayyiqtol) take a central part in this debate because of the wide range of meaning that they have in the Hebrew Bible. This research aims to present the various theoretical perspectives about the interpretation of the meaning and relationship of these four verbal forms and also the use of each of them in narrative and poetic texts of the Hebrew Bible.

This study explored the interaction between three individual variables, need for cognition and tolerance of ambiguity, and the symbol system used in messages. Goodman's (1976) dimension of notationality of systems is proposed as the continuum of interest upon which sources of information vary. It was hypothesized that high tolerance for ambiguity and need for cognition would lead to increased numbers of interpretations of nonnotational messages over notational ones, and over people low in these traits. Methods utilized in the study are overviewed. Results indicate that subjects high in need for cognition do generate more interpretations of messages in general than do others, however no effect was found for ambiguity tolerance or for message type. Reasons for these results are offered, and directions for further research suggested.

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The following work intends to investigate, through the Semiotics of Culture, united to literary-critical studies of MPB, the intersemiosis in the samba, more precisely, the inter-semiotic dialogue between two systems of distinct languages - the poetry of samba song (verbal language), and the samba ballroom (non-verbal language) -, from a synchronic analysis involving three choreographies mediated by the songs: Deixe Isso pra Lá (Alberto Paz and Edson Meneses) by João Sabiá (2007), Aquele Abraço (Gilberto Gil, 2000) and Pilotando o Bonde da Excursão (Marcelo D2, 2004). Such investigation will go of how this dance, understood as a modeling system of seconddegree (as well as the poetry), with an own code and endless combinatorial possibilities will can, in a choreographic representation, not just replicate the poetic system of the song, but modeled, in his own system, new insights and meanings in dialogue with the song. And, this way, contributing to mutual enrichment between the sign systems involved, creating a dynamic for change among languages that define the inventive character of culture in the samba.
O seguinte trabalho pretende investigar, através da Semiótica da Cultura unida aos estudos críticos-literários da MPB, a intersemiose no samba, mais precisamente, o diálogo intersemiótico entre dois sistemas de linguagens distintas - a poesia da canção de samba (linguagem verbal) e a dança samba de salão (linguagem não-verbal) -, a partir de uma análise sincrônica envolvendo três coreografias mediadas pelas canções: Deixa isso pra lá (Alberto Paz e Edson Meneses) por João Sabiá (2007), Aquele Abraço (Gilberto Gil, 2000) e Pilotando o Bonde da Excursão (Marcelo D2, 2004). Tal investigação partirá de como esta dança, compreendida como um sistema modelizante de 2º grau (bem como a poesia), com codificação própria e possibilidades combinatórias inesgotáveis, poderá, numa representação coreográfica, não apenas reproduzir o sistema poético da canção, mas modelizar, em seu próprio sistema, novas percepções e significações em diálogo com o da canção. E, desta forma, contribuir para um enriquecimento mútuo entre os sistemas de signos envolvidos, gerando uma dinâmica transformadora entre linguagens que definem o caráter inventivo da cultura no samba.

This thesis studies the clash between the hero and the First World War in the works of Rupert Brooke, Siegfried Sassoon and Wilfred Owen. It explores the impact on their poetry and attitude towards the concept of the hero as it applied to them as people and poets. The study shows that over prolonged contact with the horrors of the First World War, it is evident in both literary sources and their poetry that both Sassoon and Owen changed their attitudes negatively towards both the idea of heroes and heroism, as well as the War as a just and glorious cause.  However, the myth of the hero was still a core belief of their society, and in order to not be branded cowards and discarded along with their warnings, they had to become heroes in the eyes of their society, to openly attack the concept and the war it fueled. This thesis then studies how and why First World War poetry and literature should be utilized within the subject of English in the Swedish School System, as a means to provide a multicultural and critical education.

As the field of Artificial Intelligence continues to evolve into a tool of societal impact, a need of breaking its initial boundaries as a computer science discipline arises to also include different humanistic fields. The work presented in this thesis revolves around the role that explainable artificial intelligence has in human-robot interaction through the study of poetry generators. To better understand the scope of the project, a poetry generators study presents the steps involved in the development process and the evaluation methods. In the algorithmic development of poetry generators, the shift from traditional disciplines to transdisciplinarity is identified. In collaboration with researchers from the Research Institutes of Sweden, state-of-the-art generators are tested to showcase the power of artificially enhanced artifacts. A development plateau is discovered and with the inclusion of Design Thinking methods potential future human-robot interaction development is identified. A physical prototype capable of verbal interaction on top of a poetry generator is created with the new feature of changing the corpora to any given audio input. Lastly, the strengths of transdisciplinarity are connected with the open-sourced community in regards to creativity and self-expression, producing an online tool to address future work improvements and introduce nonexperts to the steps required to self-build an intelligent robotic companion, thus also encouraging public technological literacy. Explainable AI is shown to help with user involvement in the process of creation, alteration and deployment of AI enhanced applications.

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O objeto de estudo deste trabalho é o processo intervalar na construção composicional de Almeida Prado em suas três fases pós-ruptura, chamadas de Pós-Tonal, Síntese e Pós-Moderna. A concepção intervalar do compositor é demonstrada por análises realizadas em três obras, uma de cada fase pós-ruptura: Sonata n. 3, Cartas Celestes I e Noturno n. 7, respectivamente. A análise tem sua metodologia baseada em um recorte arbitrário que buscou compreender três intervalos básicos que podem ser somados a outros três intervalos enarmônicos como ampliação das possibilidades intervalares na escrita. O desenvolvimento teórico da pesquisa aprofundou-se a partir de um foco e uma análise intervalar que, conceitualmente, buscaram uma superação terminológica de uma formulação anterior nomeada como expressividade intervalar (SANT’ANA, 2009) para a atualização terminológica definida como intervalo característico. O embasamento teórico para essa concepção intervalar deu-se a partir das proposições de Boulanger (1926), Costère (1954, 1962), Forte (1973), Straus ([1990] 2013), Pousseur ([2005] 2009) e Menezes (2002). Como contextualização crítico-histórica, foi realizada uma revisão sucinta de tendências teórico-analíticas e seus problemas, reconsiderando-se as observações de Schoenberg ([1922] 2001, [1954] 2004), Kerman ([1985] 1987), Cook (1987, 2007) e Kramer (2015). Para se validar a construção e o caráter da ferramenta teórico-analítica aqui empreendida, utilizou-se a teoria de Lacey (2008) associada à visão teórico-musicológica desses autores. Com o processo analítico, apresentado no quarto capítulo, procurou-se demonstrar a grande incidência do(s) intervalo(s) característico(s) na construção estrutural das obras, desvelando-se um número variado de estratégias composicionais adotadas por Almeida Prado associadas a esses intervalos. Ainda no quarto capítulo, foi aplicada a ferramenta denominada régua intervalar, que pode ajudar na melhor compreensão dos intervalos com mais potencial de dissonância, os quais agem por meio de interação e contraste frente ao background aparentemente tonal dos intervalos mais consonantes ligados aos primeiros sete parciais (harmônicos) da série harmônica. Assim, em uma pesquisa futura, a ferramenta e a proposição analítica aqui desenvolvidas podem contribuir na compreensão e na sistematização dos tipos de objetos harmônicos pensados como entidades tímbricas que são moldados a partir dessa concepção intervalar.
The object of study this work is the interval process in the compositional construction of Brazilian pianist and composer Almeida Prado in his three post-rupture phases, called PostTonal, Synthesis and Post-Modern. The intervalar conception of the composer is demonstrated by analyses carried out in three works - one from each post-rupture phase (Sonata n. 3, Cartas Celestes I and Noturno n. 7). The analysis has its methodology based on an arbitrary crop that sought to understand three basic intervals that can be added to three other enharmonic intervals as an extension of the interval possibilities in writing. The theoretical development of the research was deepened from a focus and an interval analysis that, conceptually, sought a terminological overcoming of an earlier formulation named as intervalar expressivity (SANT'ANA, 2009) for the terminological update defined as a characteristic interval. The theoretical basis for this interval conception came from the propositions of Boulanger (1926), Costère (1954, 1962), Forte (1973), Straus ([1990] 2013), Pousseur ([2005] 2009) and Menezes (2002). As a critical-historical context, a brief review of theoretical-analytical trends and their problems was carried out, reconsidering the observations of Schoenberg ([1922] 2001, [1954] 2004), Kerman ([1985], 1987), Cook (1987, 2007) and Kramer (2015). To validate the construction and character of the theoreticalanalytical tool undertaken here, Lacey (2008)’s theory was used associated with the theoretical-musicological view, methodologically adopted in this work. Like the analytical process contained in the fourth chapter, one tried to demonstrate the great incidence of the characteristic interval (s) in the structural construction of the works, revealing a varied number of compositional strategies adopted by Almeida Prado associated to these intervals. Still in the fourth chapter, the tool called interval rule was applied, which can help in better understanding the intervals with more potential of dissonance that act through interaction and contrast against the seemingly tonal background of the more consonant intervals linked to the first seven (harmonic) partials of the harmonic series. Thus, in a future research, the tool and the analytical proposition developed here, can contribute to the comprehension and systematization of the types of harmonic objects thought as timbral entities that are shaped from this intervalar conception.

This thesis explores South Africans’ relations to grond (land/soil) and water through two collaborative spoken word poetry projects. By investigating how collaborative poetic practices can be improved to respond to social-ecological changes, this study generates critical new knowledge for other poetry collectives to apply to their own practices. The principal methodology is practice-led and is focused by two projects – the first, themed around relations to grond that took place in Mangaung in early 2019, and the principal project, themed around relations to water, culminating in the production “What the Water Remembers” in Cape Town on 4 September 2019.

Nossa tese contempla a abordagem de dois problemas inter-relacionados: 1) pensar sobre as analogias poéticas nos procedimentos composicionais entre dois ciclos de obras de autores de épocas distintas, Luís Álvares Pinto e Hermeto Pascoal; 2) realizar uma edição crítica destas pequenas peças musicais com seus acompanhamentos harmônicos realizados enquanto intervenções inventivas, viabilizando o acesso às obras por parte de um número maior de intérpretes-executores através da resolução dos elementos em aberto, uma vez que, no caso de Luís Álvares Pinto, há duetos que pressupõem trios e, no caso de Hermeto Pascoal, há uma voz solista que pressupõe duetos. Primeiramente, trabalhamos as questões confluentes e os elementos composicionais análogos que surgem quando aproximamos: 1) os 25 solfejos a duas vozes de Luís Álvares Pinto, parte final de seu tratado didático Muzico e Moderno Systema para Solfejar, de 1776; 2) 34 lead sheets selecionadas do Calendário do som, um manuscrito de 366 peças compostas por Hermeto Pascoal, entre 23 de junho de 1996 e 23 de junho de 1997, uma obra que contempla a composição de uma peça por dia ao longo de um ano. Visamos, assim, indagar sobre os procedimentos composicionais que transcendem realidades historicamente diferenciadas. Segundo, confeccionamos uma edição crítica das partituras de ambos os ciclos de obras destes dois compositores nordestinos e reconhecidos como músicos referenciais por seus pares em suas épocas, com a realização das harmonias. Outro objetivo importante é a aplicabilidade prática da tese: disponibilizar aos músicos intérpretes-executores interessados de dentro e fora da academia as partituras destas obras por nós editadas, viabilizando suas performances. Entendemos que esta última etapa de nossa tese representa um resultado efetivo e significativo de nossa pesquisa, cumprindo assim o papel acadêmico - ao lado do ensino e da pesquisa - de estender os resultados dos conhecimentos produzidos na universidade à comunidade na forma de prestação de serviços. O trabalho está inserido na linha de pesquisa: Música Brasileira: história, interpretação-execução, processos composicionais e editoriais do Grupo de Pesquisa do CNPq: Poíesis, Práxis e Theoria em Música, sob coordenação do nosso orientador.
Our thesis approaches two interrelated issues: 1) we discuss poetic analogies in compositional procedures that appear in two cycles of compositions by two different authors of distinct periods, Luís Álvares Pinto and Hermeto Pascoal; 2) We prepare a critical edition of these pieces with their harmonic accompaniment worked out in inventive interventions that make them accessible to a larger number of interpreters-performers. First, we work with confluent questions and analogous compositional elements that arise as we approach the 25 solfeggios in two voices by Luís Álvares Pinto and the 34 lead sheets retrieved from the Calendário do som . The 25 solfeggios belong to the final part of the didactic treaty Muzico e Moderno Systema para Solfejar, from 1776. The Calendário do som is a manuscript of 366 pieces composed by Hermeto Pascoal between 23 June 1996 and 23 June 1997, covering the composition of one piece a day along a year. We aim, thus, to inquire about the compositional procedures that transcend different historic realities. Secondly, we prepare a critical edition of the scores of the works that have been researched, and that contain realizations of the open elements. Thus, the practical application of the thesis: to make their performance feasible to a larger range of interested musicians, from within or outside the Academy. We understand that this last part of our thesis represents an effective and meaningful result of our research, playing in this way the academic role - besides teaching and research - of extending the knowledge produced at the university to the community, as a service provision. The work pertains to the research line: Brazilian Music: history, interpretation-performance, compositional and editorial processes of the CNPq Research Group: Poíesis, Práxis and Theoria in Music, coordinated by our supervisor.

Mental illness is not only the leading cause of disability among adults, but there is also an emerging public health crisis in childhood mental illness. A majority of parents do not recognize symptoms of psychological disorder in their children, and current policies and programs for mental health service delivery are not sufficiently responsive to the early help-seeking dynamics of families. Using a concurrent mixed methods design, this study explored how parents in the Pikes Peak region of Colorado learned to recognize their child's mental illness. Phenomenological interviews, augmented by poetic inquiry and quantitative measurements, were used to discover factors that inhibited or enhanced five mothers' recognitions. These factors were then evaluated using a frequency distribution analysis and a rank-order correlation. The phenomenon of recognition was, for these mothers, a process of waiting to hear that â??normalâ?? had stopped, wherein they miscategorized symptoms as normal behaviors in a passing developmental phase. Prior experience with mental illness appeared to significantly decrease both the length of time and the level of distress necessary for recognition. Ultimately, recognition did not occur until someone in their social network validated their concerns and provided explicit confirmation, which galvanized them to seek treatment. Governance network collaborations can facilitate positive social change by standardizing guidance on how to differentiate symptoms of a disorder from normal childhood development. Public policies and programs such as universal mental health screening, mental health literacy, and more supportive and responsive school policies can foster dialogue for parental recognition in Colorado and throughout the country.

Positioned between writing and drawing, the diagram is proposed by John Berger as an alternative strategy for articulating encounters with landscape. A diagrammatic approach offers a schematic vocabulary that can compress time and offer a spatial reading of information. Situated within the contemporary field of direct data visualisation, my practice-led research interprets Berger’s ‘Field’ essay as a guide to producing four field | studies within a suburban park in Canberra. My seasonal investigations demonstrate how applying the conventions of the pictorial list, dot-distribution map, routing diagram and colour-wheel reveals subtle ecological and biographical narratives.

Consummation was the one term about which Kenneth Burke wasn't particularly long-winded - odd considering his claim that it was the apex of his theory of form. Perhaps Burke never explained exactly what consummation was because he himself was never clear on the subject, as he told John Woodcock in an interview toward the end of his career. Burke began conceptualizing his theory of form early on - in his 20s - and published it in his first critical book, Counter-Statement, in 1931. At that time, Burke's theory of form had already taken one evolutionary step - from self-expression, with the focus on the artist, to communication, with the focus on the psychology of the reader. Communication was to Burke an "arousing and fulfilling of desires." However, by the 60s, Burke introduced us to a new term which he only used a handful of times in his entire corpus: consummation. This paper attempts to define consummation by exploring Burke's theory of form and looking to his correspondences with friends and scholars. It offers two answers: first, consummation is the act of a reader responding to a writer in critical conversation; second, consummation is the ultimate cathartic achievement. Both play an important civic role. Using current science regarding the gut in connection with emotional purgation, this paper treats seriously Burke's essay "The Thinking of the Body (Comments on the Imagery of Catharsis in Literature)" and his ideas regarding the "Demonic Trinity": micturition, defecation, and parturition, explaining Burkean catharsis as it differs from, deepens, and extends Aristotelian catharsis. What can we learn from what Burke meant by consummation? That the symbolic world is much more significant to our survival than we may realize. As the world of scientific motion advanced rapidly during Burke's lifetime, he began to lose hope that symbolic action could keep up with it. We can see how important poetry and the symbolic motive was for him; he seemed to think it was a matter of life and death. This paper explores what it meant for Burke to seek a consummated life, and the implications that held for him and for us. In the end, the paper posits the importance of catharsis to society in terms of war and peace.

This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.

碩士
國立中央大學
中國文學系
101
Shi-Yuan-Bian-Ti is a treatise on Ars Poetica written by the poetry critic Xu Xue-Yi (1563-1633) in the late Ming Dynasty. This work has recently become a focal point in the academic world of Chinese Literature. Owing to this, the various versions of the original text which had initially withdrawn from circulation in Taiwan, started in gradual circulation again. In addition, as scholars’ devotion to the research of Chinese ancient stylistics and poetics become full-blown, that altogether enriches the scope of this thesis with depth, details and accuracy. Xu Xue-Yi’s Shi-Yuan-Bian-Ti is both a critical and historical analysis on Chinese ancient verse. The thread running through his treatise is “criticism of style and feature distinguishing,” alongside the judgment and evaluation within the interpretive frameworks of “generic criticism,” “criticism of poetic genesis and branches,” and “criticism of norm and deviation,” where an epic monograph was born. Ultimately, what Xu Xue-Yi aims for is to instruct the future generations in the art of poetry and that therefore, this discourse eventually returns to “criticism of studying poet laureates.” After reconstructing the poetic system in Shi-Yuan-Bian-Ti, we can conclude that Xu Xue-Yi’s attempt is to construct a literary tradition built upon the heritage of Chinese ancient poems, and further advocates his poetic ideals. The critic not only anticipates his descendants to study poetry in a similar vein, but to capture the zeitgeist of ancient time when writing poetry.

Лінцова Г. Ю. Поетикальна матриця роману І. Роздобудько «Пастка для жар-птиці» : кваліфікаційна робота магістра спеціальності 035 «Філологія» / наук. керівник В. М. Ніколаєнко. Запоріжжя : ЗНУ, 2020. 90 с.
UA : Кваліфікаційна робота магістра «Поетикальна матриця роману І. Роздобудько «Пастка для жар-птиці» містить 90 сторінок. Для виконання кваліфікаційної роботи опрацьовано 52 наукових джерела. Мета дослідження полягає в спробі системного дослідження роману поетикальної матриці роману І. Роздобудько «Пастка для жар-птиці». У ході написання роботи виконані такі завдання: - на основі наукової літератури здійснено характеристику поетики як будови та єдності текстових структур; - розглянуто модель поетики художнього твору, визначено основні її компоненти, а також окреслено поняття поетикальної матриці; - на основі жанрових характеристик художніх творів окреслено жанрові особливості роману І. Роздобудько «Пастка для жар-птиці»; - визначено тематичний рівень твору і його проблематику, сюжет; -проаналізовано особливості групування персонажів та їх характеристики відповідно до жанрової специфіки; - розглянуто наративні структурі роману. Об’єкт дослідження: роман І. Роздобудько «Пастка для жар-птиці». Предмет дослідження: поетикальна матриця твору, що складається із жанрово-композиційних елементів, нарації та системи образів. Методи дослідження. У роботі використано системний підхід, що передбачає поєднання історико-літературного, культурологічного, описового методів із елементами семіотики. З метою висвітлення особливостей художнього зображення внутрішнього світу персонажів прози І. Роздобудько використано теоретично-критичний, структурно-семіотичний, історико-генетичний, типологічний, історико-порівняльний методи наукового вивчення явищ художньої літератури. Наукова новизна роботи полягає у тому, що було зроблено спробу здійснити системне дослідження поетикальної матриці. Для цього було розглянуто поняття поетики в українському та англомовному наукових дискурсах і з’ясовано основні компоненти поетики, а також запропоновано розуміння поетикальної матриці як поєднання поетикальної моделі із індивідуальним стилем автора. На основі існуючих різновидів жанру детективу встановлено приналежність роману до детективу «розгадки», психологічного трилеру та жіночого роману. Сфера застосування. Робота може бути використана під час вивчення курсу вивчення курсів «Вступ до літературознавства», «Теорія літератури», «Сучасна українська література», спецкурсів із проблем сучасної масової літератури, а також під час написання курсових і дипломних робіт.
EN : Master’s thesis “The Poetical Matrix of the Novel “The Firebird’s Trap” by Iren Rozdobudko contains 90 pages. To fulfill the thesis 52 scientific sources were studied. The aim of the work: the systematic study of the poetic matrix in the novel “The Firebird’s Trap” (“Pastka dlya zhar-ptytsi”) by Iren Rozdobudko. During the study the following tasks were completed: - based on the scientific literature, the characteristic of poetics as a structure and unity of textual structures was performed; - the poetics model of the work of fiction was investigated, its main components were figured out, the concept of the poetic matrix was defined; - based on the genre characteristics of the works of fiction, genre peculiarities of the novel “The Firebird’s Trap” (“Pastka dlya zhar-ptytsi”) by Iren Rozdobudko were described; - the thematic level of the novel, its problematics and subject were defined; - the grouping of characters and their characteristics according to the genre specifics were analyzed; - the narrative structures of the novel were examined. The object of study: the novel “The Firebird’s Trap” (“Pastka dlya zhar-ptytsi”) by Iren Rozdobudko The subject of study: the poetic matrix of the novel, which consists of genre-compositional elements, narration and the system of images. Research methods. In the work the systematic approach is used, which combines historico-literary, cultural and descriptive methods with the elements of semiotics. To highlight the peculiarities of artistic depiction of the characters’ inner world in the prose of Iren Rozdobudko, theoretical-critical, structural-semiotic, typological, historical-comparative methods of the scientific study of the phenomena of fiction were used. Scientific novelty of the study is that it attempts to conduct systematic research of the poetic matrix. For this purpose, the concept of poetics was considered in Ukrainian and English scientific discourses and the basic components of poetics were defined, as well as the understanding of the poetic matrix as a combination of the poetic model with an individual style of the author was proposed. On the basis of the existing varieties of the detective genre, the novel has been identified as belonging to the detective “unraveling”, the psychological thriller and the women’s novel. Application field. The results of the study can be used during the study of courses “Introduction to Literary Studies”, “Theory of Literature”, “Contemporary Ukrainian Literature”, special courses on problems of contemporary popular literature, as well as during writing term or diploma papers.

This study concerns itself with indigenous knowledge systems related to religion and healing as encapsulated in Nxumalo and Buthelezi's poetry. Most of the poems referenced in this study are laced with religion and healing, with the aspects of healing being related to religion and success? In short, the healer has to be upright as far as religion is concerned. Any deviation from religious norms and values tarnishes and nullifies the healer's expertise and their ability to heal. In short the ancestral spirits dislikes deviant behaviours such as witchcraft, when the healer lives in two worlds, that of healing and that of bewitching others. The ancestors strip the healer of the healing powers, as a punishment. To gain their expertise, the practitioners of religion and healing undergo training in the art of detecting illness and witchcraft using bones and other devices, and this training, to a greater extent, must come with the approval of ancestors. It is also upon the diviners and traditional healers to perform rituals when death has struck, by preparing rituals that should enable the living dead to meet their ancestors spotless. Since, the indigenous people believes in the life-hereafter, it is believed that a person pursues with living, similarly to an earthly one even in death. It is believed that failing to perform these rituals, invites death to encroach and repeatedly strike the community or family. Witchcraft is deplored in indigenous religions and communities often gather together with healers to fight against witches. In indigenous religions untimely death is believed to be the work of the witch. All in all indigenous religion and healing complement each other in the worship of the Supreme-Being through deities. In short, Chapter One concerns itself with a general introduction for the entire study. Some key concepts such as: indigenous knowledge systems; deconstruction; inter-textuality; new-historicism; influence and so on, will be discussed in this said chapter. Whereas Chapter Two discusses how theories like deconstruction, inter-textuality and new-historicism will be utilised in the study. Take for instance deconstruction is to be utilised since it deals with multiplicity of meaning in interpretation of poetry. Chapter Three deals with the link between Nxumalo and Buthelezi's poetry as they relate to indigenous religion and healing and the relevance of these two concepts. Chosen poems by Nxumalo and Buthelezi will be analysed in this regard. Chapter Four touches on instances of the indigenous knowledge system and how it is constructed within the poetry of Nxumalo and Buthelezi. Specifically, the position of the Supreme-Being and that of the deities will receive attention here. In Chapters Five, discussions of the instances of indigenous rituals within the selected poetry and the training of prospective traditional healers will be analysed. Finally, Chapter Six presents the conclusion, findings, recommendations and possible future directions for research in this field.
Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.

Магістерська дипломна робота присвячена дослідженню філософських мотивів творчості одного з найяскравіших представників доби «Розстріляного відродження» Євгена Плужника. Творчість митця тісно пов’язана з українською історією, тож особливої актуальності набувають нині дослідження системи образів Євгена Плужника, вивчення особливостей його поетики та, зокрема, визначення загальнолюдських і національних мотивів філософії митця у контексті історичних подій, свідком яких він став. Особлива увага приділяється осмисленню історичних та соціальних процесів 20-30 років ХХ століття та їх відображення у поезії збірки «Дні» Євгена Плужника. Співставлення соціально-політичної ситуації за часів, коли жив Євген Плужник, особистісних характеристик автора, котрі описують сучасники та дослідники творчості митця, а також аналіз його поезій, дозволили виявити взаємозв’язок між образом ліричного героя та світосприйняттям самого автора. Дослідження творчої спадщини митця у поєднанні з особливостями його особистості дає більш глибоке та всебічне розуміння літературного доробку та дозволяє по-новому поглянути на філософію життя й світосприйняття Євгена Плужника.
The master's thesis is devoted to the study of philosophical motives of the work one of the brightest representatives of the era of "Shot Renaissance" Eugene Pluzhnik. Works of the artist closely related to Ukrainian history, therefore, the study of the Yevhen Pluzhnyk's system of images, peculiarities of his poetics and, in particular, the definition of universal and national motives of the artist's philosophy in the context of historical events, which he witnessed, become especially relevant today. Particular attention is paid to understanding the historical and social processes of 20-30 years of the twentieth century and their reflection in the poetry of the collection "Days" by Yevhen Pluzhnyk. A comparison of the socio-political situation during the life of Yevhen Pluzhnyk, the author's personal characteristics described by contemporaries and researchers of the artist's work, as well as an analysis of his poetry, revealed the relationship between the image of the lyrical hero and the author's worldview. The study of the artist's creative heritage in combination with the peculiarities of his personality gives a deeper and more comprehensive understanding of the literary work and allows a new look at the philosophy of life and worldview of Yevhen Pluzhnyk.

Thesis (M.A. (English Studies)) -- University of Limpopo, 2020
This mini dissertation examines the influence of the Black Consciousness Philosophy on Oswald Mbuyiseni Mtshali’s Post-Colonial protest poetry. This is done in the form of analysing selected poems to highlight the influence that the Black Consciousness Philosophy had on the poems that Mtshali wrote about the experiences of black people under a suppressive apartheid system. The aim of this study was to explore how Mtshali’s poetry exposed the extent to which black people had been socio-economically deprived and misled to a negative and false belief of their inferiority and subservience. The title of the mini dissertation, suggests that Black Consciousness poetry claims to have had an influence on the protest poetry of Oswald Mtshali. The poems were analysed to ascertain this. The poems were examined with the express aim of identifying and understanding their themes and the socio-economic context from which they emanate.

The paper presents an original literary concept that describes both the philosophical system of L. Gubanov and the originality of his poetry. The logic of the master's thesis is subject to the presentation of this concept. The work outlines the originality of lyrical poetry by L. Gubanov; investigates the images of Chaos and Cosmos, as well as the main myths that define the uniqueness of artistic and philosophical system of the poet. The work analyses some of the author's poetic techniques, presents observations on the ways of organization of the poetic expression.
В работе представлена оригинальная литературоведческая концепция, описывающая как философскую систему Л. Губанова, так и своеобразие его поэтики. Изложению этой концепции и подчинена логика магистерской диссертации. В ней очерчено своеобразие лирического героя поэзии Л. Губанова; исследованы макрообразы Хаоса и Космоса, основные мифологемы, определяющие своеобразие художественно-философской системы поэта; осуществлен анализ некоторых приемов авторской поэтики, представлены наблюдения над способами организации поэтического высказывания.

Text in English
The study was conducted in two different types of natural ventilated housing systems; one featured with conventional laying cages while other had free-range system features. The aim was to analyse productivity and economic benefit or loss of the Lohmann Brown Lite on different housing (Free-range system and Conventional cage system) with an evaluation of production cost. The total of 49 700 point of lay Lohmann Brown Lite layers pullets were placed in four natural ventilation free-range houses each consist of three rows of two tier conventional laying cages. The other 40 000 point of lay Lohmann Brown Lite layers pullets were place in four free-range houses each with placement of 10 000 chickens. The Cobb Douglas production model was used to determine the productivity of two different housing system by factoring the fixed cost and variable cost of the entire production process. The breakeven point tool was used to analyse the point where the total revenue equals the total variable and fixed expenses and the cost volume profit by measuring the profitability of each housing system (Nabil et al. 2014). The results of the study revealed different productivity between conventional cage system (82.94%) and the free-range system (77.46%). These results led to the acceptance of hypothesis 1 that “the production of Lohmann Brown Lite is the same when they are kept on the free-range system or conventional cage system. The capital investment and operation on conventional cage system showed breakeven at 43 months while free-range system showed breakeven at 60 months. The economic benefit analysis shows that the free-range system has cost benefit of R0.29 and conventional cage system has a cost benefit of R0.26. It means for every rand spent, farmer may get R0.29 Rand as profit for free-range system and every rand spent for conventional cage system can get R0.26 Rand. The economic benefit to farmer is greater on free-range system that lead to acceptance of hypothesis 2 that the economic benefit of egg production is greater on the free-range system compared to conventional cage system. Free-range housing system remain the best alternative to replace the conventional cage housing system.
Agriculture and  Animal Health
M.Sc. (Agriculture)

Eva Krásová: Émile Benveniste and the role of sens My thesis "Émile Benveniste and the role of sens" is a monographic study of the life work of Émile Benveniste (1902-1977) through the role that the concept of meaning (sens) takes in his thought. I adopt the methodology defined by K. Kœrner as "historiography of language sciences", and thus my perspective on Benveniste's work is mainly chronological and developmental. First part of the thesis concentrates on theoretical foundations of Benveniste's thought in the school of Paris (A. Meillet and M. Bréal), Prague (R. Jakobson and V. Skalička) and Copenhagen (texts around 1939). I point out the concept of language system in diachrony in A. Meillet's thinking and in Prague school and present a hypothesis about the role of Émile Bneveniste in their contact during the International congresses of linguists. This results into a description of the perspective of meaning as it was presented in Benveniste's 1962 lecture "Levels of linguistic analysis". Second part deals with Benveniste's concept linguistics of discours. First chapter explains the main concepts of Benveniste's theory of language: semiotics and semantics or the semiotical and the semantical (le/la sémiotique, sémantique), enunciation (énonciation), appropriation (appropriation) and the theory...

L’architecture au sens strict, qui renvoie à la construction, n’est pas indépendante des déterminations mentales, des images et des valeurs esthétiques, comme références, amenées par divers champs d’intérêt au problème du sens. Elle est, de par ce fait, un objet d’interprétation. Ce qu’on appelle communément « signification architecturale », est un univers vaste dans lequel sont constellées des constructions hypothétiques. En ce qui nous concerne, il s’agit non seulement de mouler la signification architecturale selon un cadre et des matières spécifiques de référence, mais aussi, de voir de près la relation de cette question avec l’attitude de perception de l’homme. Dans l’étude de la signification architecturale, on ne peut donc se détacher du problème de la perception. Au fond, notre travail montrera leur interaction, les moyens de sa mise en œuvre et ce qui est en jeu selon les pratiques théoriques qui la commandent. En posant la question de l’origine de l’acte de perception, qui n’est ni un simple acte de voir, ni un acte contemplatif, mais une forme d’interaction active avec la forme architecturale ou la forme d’art en général, on trouve dans les écrits de l’historien Christian Norberg-Schulz deux types de travaux, et donc deux types de réponses dont nous pouvons d’emblée souligner le caractère antinomique l’une par rapport à l’autre. C’est qu’il traite, dans le premier livre qu’il a écrit, Intentions in architecture (1962), connu dans sa version française sous le titre Système logique de l’architecture (1974, ci-après SLA), de l’expression architecturale et des modes de vie en société comme un continuum, défendant ainsi une approche culturelle de la question en jeu : la signification architecturale et ses temporalités. SLA désigne et représente un système théorique influencé, à bien des égards, par les travaux de l’épistémologie de Jean Piaget et par les contributions de la sémiotique au développement de l’étude de la signification architecturale. Le second type de réponse sur l’origine de l’acte de perception que formule Norberg-Schulz, basé sur sur les réflexions du philosophe Martin Heidegger, se rapporte à un terrain d’étude qui se situe à la dérive de la revendication du fondement social et culturel du langage architectural. Il lie, plus précisément, l’étude de la signification à l’étude de l’être. Reconnaissant ainsi la primauté, voire la prééminence, d’une recherche ontologique, qui consiste à soutenir les questionnements sur l’être en tant qu’être, il devrait amener avec régularité, à partir de son livre Existence, Space and Architecture (1971), des questions sur le fondement universel et historique de l’expression architecturale. Aux deux mouvements théoriques caractéristiques de ses écrits correspond le mouvement que prend la construction de notre thèse que nous séparons en deux parties. La première partie sera ainsi consacrée à l’étude de SLA avec l’objectif de déceler les ambiguïtés qui entourent le cadre de son élaboration et à montrer les types de legs que son auteur laisse à la théorie architecturale. Notre étude va montrer l’aspect controversé de ce livre, lié aux influences qu’exerce la pragmatique sur l’étude de la signification. Il s’agit dans cette première partie de présenter les modèles théoriques dont il débat et de les mettre en relation avec les différentes échelles qui y sont proposées pour l’étude du langage architectural, notamment avec l’échelle sociale. Celle-ci implique l’étude de la fonctionnalité de l’architecture et des moyens de recherche sur la typologie de la forme architecturale et sur sa schématisation. Notre approche critique de cet ouvrage prend le point de vue de la recherche historique chez Manfredo Tafuri. La seconde partie de notre thèse porte, elle, sur les fondements de l’intérêt chez Norberg-Schulz à partager avec Heidegger la question de l’Être qui contribuent à fonder une forme d’investigation existentielle sur la signification architecturale et du problème de la perception . L’éclairage de ces fondements exige, toutefois, de montrer l’enracinement de la question de l’Être dans l’essence de la pratique herméneutique chez Heidegger, mais aussi chez H. G. Gadamer, dont se réclame aussi directement Norberg-Schulz, et de dévoiler, par conséquent, la primauté établie de l’image comme champ permettant d’instaurer la question de l’Être au sein de la recherche architecturale. Sa recherche conséquente sur des valeurs esthétiques transculturelles a ainsi permis de réduire les échelles d’étude de la signification à l’unique échelle d’étude de l’Être. C’est en empruntant cette direction que Norberg-Schulz constitue, au fond, suivant Heidegger, une approche qui a pour tâche d’aborder l’« habiter » et le « bâtir » à titre de solutions au problème existentiel de l’Être. Notre étude révèle, cependant, une interaction entre la question de l’Être et la critique de la technique moderne par laquelle l’architecture est directement concernée, centrée sur son attrait le plus marquant : la reproductibilité des formes. Entre les écrits de Norberg-Schulz et les analyses spécifiques de Heidegger sur le problème de l’art, il existe un contexte de rupture avec le langage de la théorie qu’il s’agit pour nous de dégager et de ramener aux exigences du travail herméneutique, une approche que nous avons nous-même adoptée. Notre méthode est donc essentiellement qualitative. Elle s’inspire notamment des méthodes d’interprétation, de là aussi notre recours à un corpus constitué des travaux de Gilles Deleuze et de Jacques Derrida ainsi qu’à d’autres travaux associés à ce type d’analyse. Notre recherche demeure cependant attentive à des questions d’ordre épistémologique concernant la relation entre la discipline architecturale et les sciences qui se prêtent à l’étude du langage architectural. Notre thèse propose non seulement une compréhension approfondie des réflexions de Norberg-Schulz, mais aussi une démonstration de l’incompatibilité de la phénoménologie de Heidegger et des sciences du langage, notamment la sémiotique.
Architecture, being strictly a means of construction, is not independent of mental decisions, images, and esthetic values coming from various fields of references. It is in fact, as a result of all that, subject to various interpretations. We commonly call the universe where reside these hypothetical constructions: Architectural significance. Talking about architectural significance does not only belong to a specific framework of reference materials but also to its relationship with the attitude of man vis-à-vis “perception”. Studying architectural significance could not therefore ignore the question of “perception” and our research will demonstrate their interaction, and the theoretical and practical means, which allow their realization. In asking the question about the origin of “perception”, which is not a simple act, nor a contemplative one, but rather a moment of an active interaction with the architectural form or the form of art in general, we find in the writings of the historian, Christian Norberg-Schluz two types if works; hence two types of responses that we underline the antinomian character towards each others. It is that Norberg-Schluz leads a reflection in the first book he wrote; Intentions in Architecture (1962), known in French as Système logique de l’architecture (1974), here after referred to as SLA, that treats significance as if a continuum exists between architectural expression and “modes de vie” in society, benefiting as a result a cultural approach to the question. His SLA consists of a theoretical system, which seems to be influenced at many fronts, by works of the epistemology of Jean Piaget and the contributions of semiotics to the development of the studies on architectural significance. The second type of response that formulates Norberg-Schulz regarding the origin of the act of perception in which he aligns himself with the reflections of the Philosopher Martin Heidegger, takes us to a new ground of study which lays the ground for the social and cultural foundations of architectural language and which relates the study of significance to the study of the human being. The step is then ceded to an ontological research; Norberg Schulz would lead with consistence starting with his book Existence, Space, and Architecture (1971) the question about the historical and universal foundations of architectural expression. The construction of this thesis, which we separate into two parts, corresponds to two theoretical movements characterizing the writings of Norberg-Schulz. The first part of this thesis will therefore; be devoted to studying the SLA of Norberg Schulz. Our objective consists of unveiling the ambiguities surrounding the framework of his work and the heritage he left to the architectural theory. Our study will demonstrate the controversial aspect of his SLA related to influences that practice the “pragmatic” on the study of significance. In this first part, it is suggested that we present the theoretical models contained in the SLA and to put them in association with the different dimensions, which are being proposed for the study of architectural language, and especially the social dimension, as a result of formalizing the language of art, initiated by the semiotics and psychology on the meaning of significance. This involves studying the functionality of architecture and the research instruments of the typology of the architectural form and its schematization. Our critical approach of the SLA is based on evaluation that adopts the standpoint of the historical research of Manfredo Tafuri. The second part of our thesis focuses on the foundations of Norberg-Schulz’ interest in sharing with Heidegger the question of the human being, which contributes to the foundations of an existentialist investigation on “significance” and “architectural perception”. Throwing light on these foundations requires demonstrating the roots of the question on the human being in the essence of the hermeneutic practice of Heidegger, and also that of H. G. Gadamer, and it requires revealing the importance of “image” as a foundation for the question of the “human being”. Research on trans-cultural esthetic values allows reducing the study of significance to the only dimension that is of the human being. It’s by taking this direction that Norberg-Schulz along with Heidegger puts the foundations of his approach; the “dwell” and the “build” as means or mediums of manifestations of the question of the human being. Our study reveals in the meantime, the interaction between the question of the “human being” and the critique of the technique in its present form being based on reproducibility. Between the writings of Norberg-Schulz and the specific analysis of Heidegger of the problem of art, there is a context of interruption with the language of the theory that matters for us to clarify and bring closer to the requirements of the hermeneutic, an approach which we also have adopted. Our method is essentially qualitative. It is inspired by the methods of interpretation and works of Gilles Deleuze and Jacques Derrida and also other works annexed to these types of analysis. In the meantime, our research remains attentive to questions of epistemological order concerning the relation between architectural discipline and sciences that study the architectural language. Our thesis suggests not only a deep understanding of Norberg-Schulz’s reflections but also a demonstration of the incompatibility of the phenomenology of Heidegger vis-à-vis the sciences of language, notably semiotics.

As a social worker practising in long-term residential care for people living with dementia, I am alarmed by discourses in the media and health policy that construct persons living with dementia and their health care needs as a threatening “rising tide” or crisis. I am particularly concerned about the material effects such dominant discourses, and the values they uphold, might have on the collective provision of care and support for our elderly citizens in the present neoliberal economic and political context of health care. To better understand how dominant discourses about dementia work at this time when Canada’s population is aging and the number of persons living with dementia is anticipated to increase, I have rooted my thesis in poststructural methodology. My research method is a discourse analysis, which draws on Foucault’s archaeological and genealogical concepts, to examine two contemporary health policy documents related to dementia care – one national and one provincial. I also incorporate some poetic representation – or found poetry – to write up my findings. While deconstructing and disrupting taken for granted dominant crisis discourses on dementia in health policy, my research also makes space for alternative constructions to support discursive and health policy possibilities in solidarity with persons living with dementia so that they may thrive.
Graduate
0452
0680
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macsuz@shaw.ca

This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.