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Faculty of Humanities School of Arts 0317536k b_balancing_act@yahoo.com / After endless contemplation on the idea of ‘word and image’, the following expression of J.W.T Mitchell in Word and Image (1996: 56) brought insight: ‘[W]ord and image’… a pair of terms whose relations open a space of intellectual struggle, historical investigation, and artistic/critical practice. Our only choice is to explore this space (own emphasis). I shifted my position from the forlorn act of peeling to one of creative exploration. Not necessarily exploring the specific space between word and image, but rummaging ‘the space between’; always hovering amid opposites. This space provides an opportunity to confront and debate the many issues that stem from the relations formed in its fluidity. It is a space that informs my thinking. It is a space of conversation. I see not only my writing, but also the art that I scrutinize as conversation. My conversation is captured in the linear structure of this thesis, but the conversation of art is dynamic. It is informal and flexible – following not one path, offering no answer, giving the potential at each moment for surprises and transformation. The idea is to ponder contemporary art’s dialogue, the manipulators thereof and the indispensable factors constituting this notion: space, grammar, medium, criticism. The notion of dialogue assumes a listener, a participant, an audience. But who is this audience with whom ideas are conversed, and what language do you (presumably) use to communicate the necessary? I have chosen to investigate these questions, the purpose and plan of art, with relation to a selected group of artists: an individual, Terry Kurgan and a collective – Stephen Hobbs, Marcus Neustetter and Kathryn Smith, known as The Trinity Session.

La investigación para el Centro Especializado de Alto Rendimiento de Voleibol y Voleibol Sentado (CEAR), nace a partir del interés y pasión por la práctica del voleibol y las ganas de ofrecer, mediante la arquitectura, una mejor infraestructura deportiva para el país. La función principal del proyecto es la de brindarle a los voleibolistas seleccionados a nivel nacional, todas las herramientas que le permitan alcanzar su máximo rendimiento deportivo. Este Centro debe contar con espacios destinados a: entrenamientos, atención médica, alojamiento, recreación, competencia. Por tal motivo, en el presente documento se ha desarrollado un marco teórico, conceptual y el estudio de proyectos referenciales de la tipología y del énfasis. Del mismo modo, se ha analizado la situación del voleibol actualmente en el país y la de sus usuarios (deportistas seleccionados), con la finalidad de poder determinar sus características y necesidades específicas que se verán reflejadas en el programa arquitectónico. / The investigation for the Volleyball and Para Volley Specialized High Performance Sport Center (CEAR), starts from my interest and passion towards practicing volleyball and in search to offer, through architecture, better sports facilities for the country. The main function of the project is to provide the national volleyball athletes, all the tools that allow them to achieve their maximum sports performance. This Center must have spaces for: training, medical care, accommodation, recreation, competition. For that reason, this document has developed a theoretical, conceptual framework and the study of referential projects of typology and emphasis. Similarly, the current situation of volleyball in the country and its users (selected athletes) have been analyzed in order to determine its specific characteristics and needs, that will be reflected in the architectural program. / Trabajo de investigación

Thesis (M.A.) --University of Limpopo, 2011 / This study is to conduct a detailed study of milieu in a number of Xitsonga novels in I Vutomi by Lubis CM and Xona hi Xihi? by DR Maluleke. This study also emphasizes on how the characters are depicted in rural areas and urban places. Lubisi and Maluleke are able to enlighten the community about the importance of establishing the distinct relationship between space and time. The first chapter is a general introduction that outlines and provides background of the study. Milieu as well as its manifestation in I Vutomi and Xona hi Xihi? is discussed in the second chapter. The third chapter deals with characterization. In the fourth chapter, the main theme of the novels is critically examined. The fifth chapter is a brief overview of the first four chapters. It also summarizes the findings of the research and provides recommendations.

Globalization has made English a pivotal language for global communication. This has increasingly made a great number of native English speakers move to Korea and teach English at all levels of education from kindergarten to university year after year. Most of them have not only little or no training as language instructors, but also little or no teaching experience. Many may wonder how they teach students with little understanding about teaching in a foreign country. At the same time, they may also surmise that they would endure many difficulties in their profession. As a faculty member working with them for over fifteen years, I have also had such questions. Especially, I was curious what conflicts they bear in their minds and how they respond to differences between Canadian and Korean culture and pedagogy. This study is grounded on the hermeneutic tradition which ultimately pursues humane lives. This hermeneutic tradition leads me to the conflicts that native English speaking teachers have experienced, to the implications embedded in the Korean and English language, and to the differences between Canadian and Korean ways of thought. While following the hermeneutic tradition, I am aware that there was little or no communication between the Canadian and Korean teaching staff, which resulted in their alienated lives and in living in a world of exclusion from their schools, disregard about their profession, and indifference from their students. The hermeneutic tradition guides me in a path toward restoring the deteriorated humane aspects of their lives as teachers. As a ground for understanding them, I attempt to define the notion of the in-between on the basis of equality and respect which are rooted in the concept of the Korean language for the in-between. This conceptual elaboration enables me to conceive that differences are not objects to exclude, to disregard, or to be indifferent, but motives to perceive the necessity to reform and to change the inequality and injustices. In this light, I propose that educational institutions allow them to participate in decision making, open a special in-service teacher training program for them, and provide them with a support system.

In this study, it is aimed to relate architecture with the changing definitions of territory. In this context, the research will focus on the issue of in-between, where the boundaries between public and private domains are blurred in the modern world. The Dutch Embassy in Berlin designed by OMA / Rem Koolhaas is built upon a creative redefinition of blurring boundaries between &amp / #8216 / public&amp / #8217 / and &amp / #8216 / private&amp / #8217 / . Given the fact that the Embassy is a diplomatic structure for which the safety factor is one of the most important design criteria, how Koolhaas interprets the idea of openness, of transparency, modernity which are meant to symbolize the Netherlands, will be studied in this research.

Universities have a significant role in society as they are generators of economic activity, as land developers, as neighbors and as property owners. Therefore it is a focal point in the community. Every university lives within a surrounding community. They have been creating their own relations with the neighborhoods. The space that the university confronts with the city is shaped according to the needs of the people from the university and the inhabitants of the area. Between the university and the city, every university creates their own interface in accordance with the location and the inhabitants of the area. While planning the city or the university the interface zone did not take into account. It has been behaved as a part of the city although it has been a neighbor with university. While designing the university there has been no attempt to design this zone or making decisions including this zone. Therefore this space creates its own character in time. As it is locating between the city and the university it has been carrying both the character of the university and the city. The main aim of this study is to examine the spatial formation of the interface of university and city in respect to the planning decisions and spatial features of the area by investigating the two different types of universities in their own contexts in Ankara / Ankara University and METU. In this context, the spatial character of interface area is defined by examining this space as a transitional area, boundary and threshold. Then universities and their historical developments are examined in urban space and the relations between these two domains are investigated through the selected universities in Europe and USA. Finally, the situation of the university in Turkey is handled and searched the formation of the interface areas around the campuses of the two selected universities in Ankara.

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Submitted by Glauber de Assunção Moreira (glauber.moreira@ufba.br) on 2018-09-21T18:18:44Z No. of bitstreams: 2 1-Pré-Textuais.pdf: 553790 bytes, checksum: c36694f13350bf0dbe476ad2f528ca4c (MD5) 2-Corpo da Tese.pdf: 4218378 bytes, checksum: 8333b35ac4a88868869bafd812ecf1ad (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-25T12:49:35Z (GMT) No. of bitstreams: 2 1-Pré-Textuais.pdf: 553790 bytes, checksum: c36694f13350bf0dbe476ad2f528ca4c (MD5) 2-Corpo da Tese.pdf: 4218378 bytes, checksum: 8333b35ac4a88868869bafd812ecf1ad (MD5) / Made available in DSpace on 2018-09-25T12:49:35Z (GMT). No. of bitstreams: 2 1-Pré-Textuais.pdf: 553790 bytes, checksum: c36694f13350bf0dbe476ad2f528ca4c (MD5) 2-Corpo da Tese.pdf: 4218378 bytes, checksum: 8333b35ac4a88868869bafd812ecf1ad (MD5) / Os encontros interculturais não são uma realidade recente, porém intensificaram-se na história pós-colonial, com os deslocamentos e as migrações, lançando novos desafios para o ser humano. Diferenças sociais e culturais muito grandes são colocadas em contato de modo abrupto e expostas ao convívio tensionado. Movida por minha própria história como portuguesa no trânsito Brasil-Portugal, investigo a criação em dança motivada por trânsitos e deslocamentos (de sujeitos, ideias, informações, imagens, objetos, etc), através de um processo criativo solo que teve como ponto de partida a relação construída com o ambiente cultural de Salvador (Bahia), e de outros experimentos criativos desenvolvidos com criadores e público em geral, nos dois lados do oceano. Este estudo reafirma uma visão de dança como movimento-pensamento-abordagem de mundo, e dialoga com uma perspectiva multidimensional de entrelugar, caraterizando-o como um estado intervalar, relacional, como espaço/ experiência da diferença, como condição híbrida, ou exotópica (BAKHTIN, 2003), e como campo possível de mobilização de identidades/ alteridades. A partir da abordagem metodológica da Prática como Pesquisa (BARRETT&BOLT, 2007; CANDY, 2006), discute de que forma experiências de entrelugar-vividas em primeira pessoa ou provocadas no(s) outro(s)- interferem nas criações, imagens recíprocas e relações culturais entre Brasil e Portugal, países que no passado mantiveram elos baseados no colonialismo. O argumento aqui defendido é que processos de criação interessados em trânsitos culturais possuem o potencial para acessar e convocar diferentes entrelugares, e, por consequência, mobilizar identidades e alteridades. Numa dimensão mais ampla esta investigação vem argumentar que os processos criativos em dança no contexto de experiências interculturais imersivas têm grande potencial de modificar a relação dos sujeitos criadores consigo mesmos, com o outro e com o mundo ao redor, sugerindo assim um entrelaçamento entre processos criativos/ processos interculturais/ processos interpessoais. O estudo destas dinâmicas sublinha o papel da dança como prática de transformação social, como uma chave importante nas novas formas de convivência que estamos tendo que descobrir atualmente. / Intercultural exchanges are not a recent phenomenon but have been intensified in the post-colonial times, with displacements and migrations, launching new challenges for human beings. Large social and cultural differences are put into contact and exposed to strained coexistence. Driven by my own history as a Portuguese in traffic Brazil-Portugal, I investigate the creation in dance driven by exchanges and displacements (of subjects, ideas, information, images, objects, etc.), through a creative solo process that took as its starting point the relationship built with the cultural environment in Salvador (Bahia), and other creative experiments conducted with performers and the general public, on both sides of the ocean. This study reaffirms a vision of dance as movement-thought-world approach and dialogues with a multidimensional perspective of the in-between space, featuring it as an interval, relational state, as space/ experience the difference, as a hybrid or exotopic (BAKHTIN, 2003) condition, and as a possible field of mobilization of identities/ alterities. Based on methodological approach of Practice as Research (PaR) (BARRETT&BOLT, 2007; CANDY, 2006), it discusses how in-between experiences-lived in first person or caused in other(s) - interfere with creations, reciprocal images and cultural relations between Brazil and Portugal, countries which have maintained links based on colonialism in the past. The argument put forward is that creative processes interested in cultural exchanges have the potential to access and call different in-betweenesses, and therefore mobilize identities and alterities. On a wider scale, this research has argued that the creative processes in dance, in the context of immersive intercultural experiences, have great potencial to change the relationship of artists with themselves, with each other and with the world around, thus suggesting an interweaving of creative/ intercultural/ interpersonal processes. The study of these dynamics highlights the role of dance as a practice of social transformation, as an important key in the new forms of coexistence that we need to discover nowadays.