Orientador: Emerson Luiz de Biaggi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T03:18:02Z (GMT). No. of bitstreams: 1 Kubala_RicardoLobo_D.pdf: 9122246 bytes, checksum: 3619885cdef78ff9e1b48b23e899406d (MD5) Previous issue date: 2009 / Resumo: O Concerto para Viola e Orquestra de Antônio Borges-Cunha foi composto em 2007 e estreado no mesmo ano, em apresentação que teve o autor desta investigação como solista e o próprio compositor como regente. Desde o início do projeto do Concerto, ocorreu amplo diálogo entre compositor e solista acerca da natureza da viola e da concepção estética da obra. Dessa forma, o intérprete pôde acompanhar o processo de criação da obra com proximidade, que, ao permitir uma visão abrangente dos procedimentos composicionais e ideário estético de Borges-Cunha, forneceu informações acerca da organização do material musical e expectativas do compositor em relação a aspectos expressivos. No primeiro capítulo, investiga-se a obra por meio da observação de sua estruturação formal, o que resulta em associações entre variedade de elementos de relevância, tanto para o entendimento da obra em si como para tomadas de decisões no âmbito interpretativo. Nos capítulos que se seguem, estudam-se aspectos do processo criativo, com enfoque na participação do intérprete durante a elaboração da escrita para a viola solista. No segundo capítulo, observa-se o tratamento das possibilidades tímbricas da viola. Por meio de viés histórico, realiza-se uma reflexão sobre maneiras de manipular o potencial sonoro da viola, as quais resultaram no estabelecimento de alguns padrões de atribuição de valor ao timbre do instrumento. Verifica-se a ocorrência desses modelos sonoros e suas variações na obra investigada. No terceiro capítulo, desenvolvem-se considerações sobre gesto em música, circunscritas ao contexto do percurso de elaboração da escrita para viola solista. São seguidas de aplicação desses conceitos a questões específicas da área de práticas interpretativas, mediante um trabalho de delineamento de sensação de movimento e direção, coadunado com características estilísticas levantadas anteriormente. Por fim, no último capítulo, disserta-se sobre temas relacionados à técnica instrumental. Busca-se conciliar aspectos ligados à dificuldade técnica demandada pela escrita do Concerto com atributos estilísticos dessa obra, entre os quais está a intenção do compositor de escrever algumas passagens propositalmente de maneira pouco idiomática. Listam-se exemplos de alterações que resultaram do diálogo entre compositor e intérprete. Esta investigação versa sobre o tema interpretação e sobre questionamentos quanto aos caminhos que instrumentistas podem tomar na busca por resultados ricos em elementos expressivos, resultados esses que, conclui-se, também são objetivos de Borges-Cunha. É um estudo dirigido especificamente para a área de práticas interpretativas e, em âmbito mais abrangente, também para compositores que se interessem pelo ponto de vista do intérprete sobre o processo de criação de uma obra / Abstract: The Concerto for Viola and Orchestra by Antônio Borges-Cunha was composed in 2007 and premiered in the same year in a concert, which featured the author as soloist and the composer as conductor. From the very beginning of the project, there was ample dialogue between composer and soloist as to the nature of the viola and as to the aesthetic concept of the work. The performer was thus able to closely accompany the work's creative process, which permitted an allencompassing vision of Borges-Cunha's compositional procedures and aesthetic ideal, and which rendered information on the organization of the musical material and the composer's expectations regarding expressive aspects. In the first chapter, the work's formal structure is investigated. This results in associations between a variety of elements which are relevant to the comprehension of the work itself and to decisive procedures in its interpretation. The subsequent chapters are dedicated to the study of aspects which relate to the creative process, focusing on the interpreter's participation during the elaboration of the compositional process for the solo viola. In the second chapter we observe the treatment of the viola's timbristic possibilities. We then discuss the manners in which the viola's potential sound qualities have been manipulated in the past, and this enables us to establish some standards of measure which are attributed to the instrument's timbristic qualities. We subsequently verify the occurrence of these sound models and their variations in the concerto. The third chapter examines musical gesture circumscribed to the context of the path chosen for the elaboration of the compositional process for the solo viola. These concepts are then applied to specific issues in the area of performance practice, by means of a process whereby the sensations of movement and direction, combined with the stylistic characteristics described above, are delineated. In the last chapter we discuss topics related to instrumental technique. An attempt is made to reconcile aspects linked to the technical demands of the compositional process in the concerto with the stylistic attributes of the work, such as the composer's intention to purposefully write some passages in a non-idiomatic manner. Examples are listed of alterations that resulted from the dialogue between the composer and performer. This investigation discusses interpretation and the queries regarding the paths which performers can choose in their quest for positive results in expressivity, which one concludes is also Borges-Cunha's objective. It is a study specifically geared to the area of performance and, in a broader sense, serves composers that are interested in the performer's contribution to the creative process of a work / Doutorado / Mestre em Música

Este trabalho aborda a necessidade da revisão na formação em Arquitetura e Urbanismo no século XXI. Parte da premissa de que a crescente urbanização e a cultura digital provocaram mudanças que exigem um repensar no perfil do profissional. Esta premissa se alinha com documentos oficiais, como a carta da UIA/UNESCO, as recomendações europeias (ENHSA), os critérios de acreditação ARCUSUR e a revisão das diretrizes curriculares nacionais proposta pela ABEA. Desenvolve esta revisão a partir do conceito de Transdiciplinaridade e chega a temas de relevância para o contexto: responsabilidade social, interculturalidade, processo de projeto revisado a partir do pensar digital, e a ecologia relacionada ao ecosistema urbano e a biotecnologia na produção do design. Construiu-se assim a partir de conceitos e relatos de experiências um conjunto de estratégias que podem iniciar a revisão necessária. / This work encompasses the need for review and revision of architectural education in the 21st century. It takes as its premise the idea that the growing urbanization and the digital culture have brought changes which demand a rethinking of architects professional profile. Such presupposition is in line with official documents, such as the charter of UIA/UNESCO for architectural education, the European recommendations (ENHSA), the accreditation criteria proposed by ARCUSUR and the review of the national curricula guidelines proposed by ABEA. It takes as its basis the notion of Transdisciplinarity and develops themes which are relevant to this context: social accountability, interculturality, design process renewed in the face of digital thinking, and ecology related to the urban ecosystem and the biotechnology in the design production. A set of strategies built upon concepts and experience reports is here proposed with the intention of promoting a revision in architectural education.

This dissertation, which examines the literary representation of childhood trauma, is held together by three threads of inquiry. Firstly, I examine the stylistic devices through which three contemporary African writers – NoViolet Bulawayo, Uwem Akpan, and Mia Couto – engage with the subject of childhood trauma in five of their short stories: “Hitting Budapest”; “My Parents’ Bedroom” and “Fattening for Gabon”; and “The Day Mabata-bata Exploded” and “The Bird-Dreaming Baobab,” respectively. In each of these narratives, the use of ingén(u)s in the form of child narrators and/or focalisers instantiates a degree of structural irony, premised on the cognitive discrepancy between the protagonists’ perceptions and those of the implied reader. This structural irony then serves to underscore the reality that, though in a general sense the precise nature of traumatic experience cannot be directly communicated in language, this is exacerbated in the case of children, because children’s physical and psychological frameworks are underdeveloped. Consequently, children’s exposure to trauma and atrocity results in disruptions of both personal and communal notions of safety and security which are even more severe than those experienced by adults. Secondly, I analyse the political, cultural and economic factors which give rise to the traumatic incidents depicted in the stories, and the child characters’ interpretations and responses to these exigencies. Notions of subjectivity and intersubjectivity, identity and community, victimhood and survival, agency and disempowerment are discussed here in relation to the context of postcolonial Africa and the contemporary realities of chronic poverty, genocide, child-trafficking, the aftermath of civil war, and the legacies of colonialism and racism. Thirdly, this dissertation inspects the areas of congruence and divergence between trauma theory, literary scholarship on trauma narratives, and literary attempts to represent atrocity and trauma despite what is widely held to be the inadequacy of language – and therefore representation – to this task. There are certain differences between the three authors’ depictions of children’s experiences of trauma, despite the fact that the texts all grapple with the aporetic nature of trauma and the paradox of representing the unrepresentable. To this end, they utilise various strategies – temporal disjunctions and fragmentations, silences and lacunae, elements of the fantastical and surreal, magical realism, and instances of abjection and dissociation – to gesture towards the inexpressible, or that which is incommensurable with language. I argue that, ultimately, it is the endings of these stories which suggest the unrepresentable nature of trauma. Traumatic experience poses a challenge to representational conventions and, in its resistance, encourages a realisation that new ways of writing and speaking about trauma in the African continent, particularly with regards to children, are needed.

This is a story of a quest that begins on a wall of history at a cemetery where Steve Biko was buried. The main character is the writer, who is partly the author, partly a fictionalised everyman. He is on a journey of self-discovery, while at the same time questioning contemporary South Africa.

Africa has witnessed some of the most horrific and devastating conflicts in the world in recent times. This study, concerned about the problem of these seemingly intractable or endemic violent conflicts ravaging the continent of Africa since decolonisation; resulting in poverty, hunger, diseases, massive killing, rape, permanent disability and underdevelopment, examined the issues relating to conflict prevention, management and resolution in Africa. In doing so, it used the conflict in the Darfur region of Sudan as a case study. It examined the role of international organisations, especially that which the African Union and the United Nations played in the prevention, management and resolution of the conflict in the Darfur region of Sudan, as well as the remote and immediate cause of the Darfur conflict and major parties to the Darfur conflict. Other issues examined by this study include the outcome of the United Nations Commission of Inquiry into the violations of international humanitarian law and human rights law, including acts of genocide in Darfur; and the Sudanese government’s response. Moreover, it analysed the implication of the Darfur conflict in the problem of preventing, managing and resolving violent conflict in Africa while drawing some lessons for the African Union, as well as the government of Sudan. However, this research, which adopted the qualitative case study methodology in data collection, presentation and analysis, posits that the protracted violent conflict, which was triggered by some rebel leaders with doubtful motives in the Darfur region of Sudan, who capitalised on the age-long problem of underdevelopment in the Darfur region, as well as low intensity disputes among the tribes over ownership of land and water resources, was avoidable. It further asserts that the African Union lacked the capacity to engage in an effective peace support operation in Africa as witnessed in the failure of its mission in Darfur, which eventually got rescued by the United Nations through the UN-AU Hybrid Mission in Darfur (UNAMID). Further, this study has contributed in narrowing the existing gaps in academic literature on the aspect of conflict prevention management and resolution especially in Africa, even as it introduced the conspiracy theory in the understanding of the issues relating to the conflict in the Darfur region while recommending the immediate operationalisation of the African Union standby force to avert the reoccurrence of the Darfur conflict in Sudan and other parts of Africa, among other strategies aimed at enhancing the capacity and capability of the African Union to prevent, manage and resolve violent conflicts in Africa with or without the intervention of foreign powers. Moreover, this study recommends good governance that will promote political, social and economic justice as well as adherence to the rule of law; against all forms marginalisation, discrimination and other forms of structural violence in Africa. Essentially, this research has made an original contribution to the conflict studies literature with the formulation of the “Violent Intrastate Conflict Model” which explains the conflict dynamics and processes in most violent intrastate conflicts or civil war.

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Magister Bibliothecologiae - MBibl / The use and design of library spaces in higher education is a theme that has come to the forefront of user needs in the past few years. Academic libraries are redesigning their spaces to accommodate the 21st century user. The 21st century user is often labeled as Generation Y and requires a different set of knowledge and skills. In today’s knowledge economy, core skills include creativity, problem solving and collaboration. Libraries are creating space to accommodate the needs of these new users. They are developing group work areas, relaxation or pause areas, technology hubs and discussion rooms. This study has investigated how to redesign academic libraries, using Cape Peninsula University of Technology (CPUT) Cape Town branch as a pilot study. The researcher used the concept of library "as place" or "3ʳᵈ place" as a theory. The framework interrogated the ten qualities of a good library space. The researcher used a mixed method research design to conduct this study. A questionnaire of which multiple copies were made, interviews and internal statistics were used to gather data. The results of the study reflected that the library is functional, can be adapted, the space is accessible and varied, it is conducive to motivating and inspiring people, it does promote interactivity between users and library services, and is environmentally suitable, flexible and has a wow factor. All of these characteristics conform to McDonald’s ten qualities of a good library space.

Teachers need to develop 21st Century skills and be competent users of ICT to integrate it successfully in their everyday instruction and learning activities. The goal of this Secondary Data Analysis (SDA) study is to determine the proportion of South African Science and Mathematics teachers who experience a lack of ICT-related skills and pedagogical skills related to the integration of ICT in instruction and learning as an obstacle. Furthermore it has been investigated whether these teachers are willing to be trained. This study is a response to the distressing outcome of the The Second International Technology in Education Study (SITES 2006), an international survey that was conducted by the International Association for the Evaluation of Educational Achievement (IEA), indicating that South Africa has the lowest ICT integration among the SITES 2006 participating countries (16% for Science and 18% for Mathematics). The current study followed a basic SDA of the SITES 2006 dataset relating to South African Science and Mathematics teachers and adopted an integrated qualitative-quantitative approach. The results indicate that there is a great need for South African Science and Mathematics teachers to attend professional development activities since there are many teachers who lack ICT-related skills (55%) and pedagogical skills related to the integration of ICT in instruction and learning (62%). The teachers who experience a lack of ICT-related skills and pedagogical skills are willing to be trained (88% and 93% respectively). These results imply that the challenge now rests with the government of South Africa to make sure that professional development activities that are both relevant and subject-specific are offered on a regular basis. The Government needs to devise strategies to promote professional development for the improvement of ICT integration into South African classrooms. / Dissertation (MEd)--University of Pretoria, 2014. / lk2014 / Science, Mathematics and Technology Education / MEd / Unrestricted

Submitted in partial fulfilment of the requirements for the Masters of Technology in Fine Art Degree, Durban University of Technology, 2017. / The aim of this research is to investigate the exploration of transience in the work of selected artists. This study used qualitative, practice-led research methodology. This research is practice-led as my art making plays an integral part in guiding my research. Process philosophy provides the theoretical underpinning and contextual framework for this dissertation. I focus on both contemporary artists and philosophers who explore the notion of transience. As my selected artists and I use paper as a predominant medium, I look at how paper is an ideal choice of material through which to explore themes of transience. The selected artists that I investigate include Peter Callesen (1967-), Mia Pearlman (1974-), Jodi Carey (1981-) and myself. Through this research I have found that artists expressed similar sentiments to that of process philosophers centuries before these theories existed, and continue to do so today. This validates transience as a relevant form of visual enquiry. Through the exploration of transience by contemporary thinkers and the selected artists, I briefly examine the scope of interpretations and possible meanings of transience. The investigation into paper as an art medium supports its appropriateness as a means to explore themes of transience. The exploration of the selected artists’ work highlights the various aspects of transience as a concept based on both subject matter and medium. This research resulted in a body of work, exhibited in partial fulfilment of the Master of Technology Degree in Fine Art. / M