Thesis (MTech (Design))--Cape Peninsula University of Technology, 2016. / This study explores appropriate responses to some of the challenges inherent to life today, and how a holistic design education can bring about a new reality. The approach to design learning advocated here acknowledges the present reality of fragmentation and reductionism as the fundamental and pervasive mode of understanding our world and ourselves, and seeks to develop instead a design approach grounded in inclusion, context and connectedness. Under the primary concept of profound engagement with self, culture and environment, I developed a complementary design education model exploring the role of designer as mediator between culture and nature. This model proposes future design knowing situated in environmental, social and self-awareness so as to offer a vital interface between ecology, public and the personal. Three themes emerged during the research that helped me to approach and engage with complexity during particular experiences of teaching and learning. These themes are: Wild, representing quality; Conversation, representing experience; and Transformation, representing consciousness. With these themes in mind I entered into the untamed territory of my research seeking the dynamic connections and interrelationships of living processes in education. The Ensembles or modules constituting this model evolved from the work of Rudolf Steiner’s concepts of higher perception: Imagination, Inspiration and Intuition, made clear through following Johann Wolfgang von Goethe’s phenomenological method. Goethe’s phenomenological method – “delicate empiricism” – is essentially a participatory, perceptive practice with which to harness qualitative ways of knowing. The methodology supports students to cross the divide between abstraction and holistic relational modes of knowing that are context-sensitive. The research study reconsiders the current worldview and determines ways in which to develop relational awareness through deliberate learning experiences. These ways imply re-focusing existing awareness with personal qualities and active participation. The Ensembles open up new ways of perceiving emergent process rooted in integrated, flexible and evolutionary processes. Students’ learning experiences are traced as they develop their capacity for interconnected decision making modelled on living processes. This in turn helps develop the model further, so that in the future designers may embrace ways of thinking and doing design that are more flexible, mobile, delicate and sustainable. The radical humanist perspective and qualitative methods used in the study advance the pedagogical approach embedded in human engagement and interaction, and encompass logic, intellect, creativity, imagination and philosophical reflection. Thus the critical shift, from perceiving the world as abstract and as “something out there” to a deeper inner knowing and understanding, is embedded in the education model as an opus of Ensembles reflecting a pedagogy of lived experience, grounded in embodied creative practice.

Orientador: Mauricio Tragtenberg / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-21T01:18:16Z (GMT). No. of bitstreams: 1 RomeraValverde_AntonioJose_D.pdf: 32896778 bytes, checksum: 3f6417bc98c58f3a7cc55adb466819f2 (MD5) Previous issue date: 1996 / Resumo: Análise histórico-política-filosófica dos fundamentos da Pedagogia Libertária, enraízada e desenvolvida entre os operários espanhóis, do século passado e começo deste, sobremaneira em Barcelona. Destaque para o ideárío da educação integral de Paul Robin e da adaptação espanhola de Trinidad Soriano, acrescido da pedagogia "racional e científica" de Francisco Ferrer. Análise histórico-filosófica do fenômeno do autodidatismo dos militantessocialismo libertário no Brasil. Destacando as idéias fundantes de William Godwin e de Joseph Jacotot, relacionadas ao auto-ensino. Entre as análises encontram-se os apontamentos e notas acerca dos princípios da filosofia de C. Krause e sua expansão em solo espanhol, no século passado. E por fim a entrevista-depoimento de Jaime Cubero sobre o autodidatismo / Doutorado / Filosofia e História da Educação / Doutor em Educação

Orientador: Jeanne-Marie Gagnebin de Bons / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-26T19:53:16Z (GMT). No. of bitstreams: 1 Fontanella_MarcoAntonioRassolin_M.pdf: 26891013 bytes, checksum: cacaa68b8a452eedd83017e52aed2e89 (MD5) Previous issue date: 2000 / Resumo: A presente dissertação de mestrado dedica-se a verificar como o romance de Thomas Mann A montanha mágica poderia filiar-se ao gênero literário do Bildungsroman. Sua introdução é um breve comentário sobre o estabelecimento do gênero literário do Bildungsroman enquanto tal, seguido de um excurso, igualmente breve, aos temas que ocupavam Thomas Mann aquando da redação deste seu romance, mediante a identificação de temas centrais das Betrachtungen eines Unpolitischen (Considerações de um apolítico). Feito isto, parte-se ao trabalho propriamente dito de pôr A montanha mágica ao lado do romance de Goethe Anos de aprendizado de Wilhelm Meister, paradigma do gênero em causa, para investigar o proveito em lê-Io como Bildungsroman. A própria questão sobre o que seria efetivamente um Bildungsroman desperta polêmica até os dias atuais. Discutir A montanha mágica na qualidade de Bildungsromanimplica,pois - sempretacitamente-, em voltar à pergunta sobre o que teria feito dos Anos de aprendizado de Wilhelm Meister o primeiro romance de uma série que constituiu tradição dentro da literatura de língua alemã. Mas esta pergunta não é apresentada como tal no corpo do texto, pois o que se pretendeu foi cingir-se a aproximar ambos os romances e esclarecer como este expediente é eficaz para compreendê-Ios. Seja como for, espera-se que mesmo a investigação do gênero tomada em si mesma sempre possa aproveitar-se das diversas incursões que se têm feito ao longo do tempo àquelas obras a ele imputadas / Zusammenfassung: In der vorliegenden Arbeit wird der Frage nachgegangen, inwieweit Thomas Manns Roman Der Zauberberg der literarischen Gattung des Bildungsromans zugeordnet werden kann. Die Einleitung der Arbeit besteht aus einem Kurzkommentar über die Entstehung der literarischen Gattung des Bildungsromans; dem folgt, indem die zentralen Themen aus Betrachtungen eines Unpolitischen bestimmt werden, ein Exkurs über die Themen, die Thomas Mann zur Zeit der Niederschrift des Romans beschãftigten. Im Hauptteil der Arbeit wird Der Zauberberg dem Roman von Goethe Wilhelm Meisters Lehrjahre - dem Paradigma der Gattung - zur Seite gestellt, und es wird untersucht, ob Thomas Manns Buch in produktiver Weise aIs Bildungsroman gelesen werden kann. Die Frage, was eigentlich ein Bildungsroman sei, ist auch in heutiger Zeit noch umstritten. Eine Betrachtung Des Zauberbergs aIs Bildungsroman impliziert aIso immer auch - wenngleich unausgesprochen - eine Rückbetrachtung der Gründe, die Wilhelm Meisters Lehrjahre zum ersten Roman einer Gattung werden lieBen, die sich dann - aus heutiger Sicht - aIs Tradition in der deutschsprachigen Literatur etabliert hat. Dieser Fragestellung wird jedoch im HauptteiI der Arbeit nicht nachgegangen, da dieser sich darauf beschrãnkt, beide Romane gegenüberzustellen, um dadurch aufzuklãren, ob dieser Weg geeignet ist, sie zu verstehen. Es wird jedoch gehofft, dass eine Untersuchung der Gattung aIs solche aus den verschiedenen Annãherungen, die im Lauf der Zeit an ihr unterstellte Werke gemacht wurden, Nutzen ziehen kann / Mestrado / Teoria Literaria / Mestre em Letras

Orientador: Maria Suely Kofes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-25T21:47:26Z (GMT). No. of bitstreams: 1 Oliveira_ManoelaHoffmann_D.pdf: 2382083 bytes, checksum: b8c4c4c8d774aa79db49ef87b59ba866 (MD5) Previous issue date: 2014 / Resumo: O objetivo desta tese é reconstituir ontologicamente a individualidade de Wilhelm Meister, protagonista do romance "Os anos de aprendizado de Wilhelm Meister", de Goethe, defendendo que Wilhelm não pôde efetivar-se por meio de sua autoatividade. No Capítulo 1, apresentamos o caráter do herói, suas qualidades e fraquezas, seus modos recorrentes de pensar, agir e sentir; discutimos, em seguida, como sua sensibilidade é especialmente aberta a certos estímulos, provocadora e atraente de outros, bem como a constituição subjetiva do herói, por meio da interiorização das experiências e da lembrança; em consciência, as ideias que ele faz sobre a realidade que experiencia. No Capítulo 2, demonstramos o modo como Wilhelm foi ativo no decorrer de sua trajetória, os obstáculos que se interpuseram à inclinação e à disposição que existiam nele para a arte teatral e, por fim, como ele redirecionou sua atividade. No Capítulo 3, abordamos as circunstâncias e as relações que Wilhelm trava com outras pessoas, tentando delimitar os contextos e avaliá-los segundo os objetivos do herói; para tanto, apresentamos um grande painel dos personagens. No Capítulo 4, acompanhamos a trajetória do herói sob o ponto de vista da sua passividade e de como essa característica reúne tanto uma necessidade literária quanto uma necessidade real, da vida social na qual Wilhelm está imerso. Por fim, apresentamos o destino do herói, o desfecho de sua trajetória. Deixamos para as Considerações Finais a discussão dos possíveis significados do destino de Wilhelm Meister, entendido como trágico para sua individualidade / Abstract: The objective of this thesis is ontologically reconstruct the individuality of Wilhelm Meister , protagonist of the novel " The years of learning Wilhelm Meister ", Goethe , arguing that Wilhelm could not manifest itself through its self activity. In Chapter 1 , we present the character of the hero , his qualities and weaknesses , their recurring ways of thinking , acting and feeling ; discussed then as its sensitivity is especially open to certain stimuli , provocative and appealing to others as well as the subjective constitution of the hero through the internalization of experiences and souvenir ; in consciousness, the ideas than it does about the reality he experiences . In Chapter 2 , we demonstrate how Wilhelm was active throughout his career , the obstacles brought to the slope and layout that existed in it for the theatrical art , and finally , as he redirected his activity. In Chapter 3 , we discuss the circumstances and relationships that lock Wilhelm with others , trying to define the contexts and evaluate them according to the objectives of the hero ; for this, we present a large panel of characters . In Chapter 4 , we follow the path of the hero from the point of view of their passivity and how this feature brings both a literary necessity as a real necessity of social life in which Wilhelm is immersed. Finally, we present the fate of the hero , the outcome of its trajectory . We leave it to the Final Considerations discussing the possible meanings of the fate of Wilhelm Meister , understood as tragic for his individuality / Doutorado / Ciencias Sociais / Doutora em Ciências Sociais

Orientador: Lygia Arcuri Eluf / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T15:58:38Z (GMT). No. of bitstreams: 1 MoraesNeto_JoseDiasde_M.pdf: 140592770 bytes, checksum: 0491f1bbf68ef25ae439e8e4ffa6ec2c (MD5) Previous issue date: 2011 / Resumo: Este projeto explora possibilidades e processos de metaforização em imagens de estruturas poético- musicais. O objetivo foi construir metáforas visuais sobre três Lieder de Franz Schubert compostos sobre poemas de Johann Wolfgang von Goethe, "Ganymed", "Wandrers Nachtlied", e "Meeres Stille". O método usado foi o da análise literária e formal dos poemas para o estabelecimento das relações metafóricas entre eles e os Lieder, e sobre elas produzir ensaios fotográficos que as traduzissem visualmente. Os ensaios resultantes, expostos no corpo deste trabalho, confirmam a hipótese lançada, de que trabalhos artístico-visuais sobre tais análises mostram-se solidamente relacionados aos poemas e Lieder em que se fundamentaram / Abstract: This project explores the possibilities and processes of metaphorization in images of poetic-musical structures. The aim was to build visual metaphors for three Lieder by Franz Schubert which were composed about poems by Johann Wolfgang von Goethe: "Ganymed", "Wandrers Nachtlied", and "Meeres Stille". The method used was the formal and literary analysis of the poems for the establishment of metaphorical relationships between them and the Lieder, and with them to produce photographic essays that translate them visually. The resulting essays, displayed in the body of this study, confirm the considered hypothesis, that visual artwork built on such analysis is solidly linked to the poems and Lieder on which they were based / Mestrado / Artes Visuais / Mestre em Artes

Orientador: Arley Ramos Moreno / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-25T05:56:56Z (GMT). No. of bitstreams: 1 Silva_JoaoCarlosSallesPiresda_D.pdf: 32884041 bytes, checksum: 18437d2583aa46489850111e9c0f7411 (MD5) Previous issue date: 1999 / Resumo: Nosso objeto é a gramática das cores na obra de Ludwig Wittgenstein (1889-1951). Dirigimo-nos, portanto, às relações internas entre cores e não às relações externas entre pigmentos, raios luminosos, processos retinianos, que interessariam precipuamente a físicos, fisiólogos ou psicólogos. Desse modo, enquanto estudo sobre uma investigação filosófico-gramatical, nossa atenção se volta para o uso normativo de palavras descritivas da experiência cromática, perfazendo tal uso uma tarefa característica de uma fenomenologia, na medida em que seu alvo são as condições de sentido e não a verdade da percepção. O modo original de Wittgenstein de tratar a identidade da cor logra definir-se apenas em um percurso extenso, cujos pólos são, por um lado, a tentativa de resolver, de 1929 a 1932, um impasse contido no Tractatus (explicitamente, no aforismo 6.3751) e, por outro, a sofisticada composição final das Bemerkungen über die Farben, em 1950. Para enfrentar a tarefa de análise desses momentos, foi necessário o acesso a fontes bem mais extensas que as editadas e mesmo o restabelecimento de parte do corpus wittgensteiniano, mas isso comportou a vantagem de permitirnos acompanhar o andamento da obra, o movimento de suas teses, recusando, na evidente e abundante reiteração, a rubrica fácil da latênda, uma vez que a solução de certas questões (como a de um possível tratamento uniforme da incompatibilidade ampla e da restrita) resulta sobretudo de uma inflexão autoterapêutica da obra, com a introdução concorrente de novos recursos e conceitos, e não de um desdobramento. Recusamos porém o discurso da latência e a continuidade não se toma por isso menos eloqüente, de modo que talvez nossa aventura com as cores possa ser assim sintetizada. Em resumo, mostramos por que Wittgenstein acreditou enfim necessário explorar o espaço das cores e como ele o fez extensa mas distintamente sobretudo nesses dois momentos: quando do período inicial de seu retomo a Cambridge e em seus últimos anos de vida. Mas o percurso mesmo e, sobretudo, o detalhe desses seus momentos contrapostos são o fundamental. Assim, a tese evidencia seu modo enfim não fenomenológico de tratar de problemas fenomenológicos, de descrever relações internas dispostas à visão, e o sentido dessa sua negação de uma fenomenologia, cifrada no enunciado do paradoxo de Goethe. O tema das cores coincide com a trama mais profunda da obra, tendo inclusive servido à maturação ou introdução de conceitos que lhe são essenciais. E, sem dúvida, os resultados específicos dessa investigação gramatical podem iluminar questões centrais da filosofia de Wittgenstein, como a natureza das relações internas e da necessidade, a autonomia da gramática e a relação entre jogos de linguagem e formas de vida. Assim, mais que uma alegoria, a cor é exemplo (e privilegiado) do movimento da obra inteira / Abstract: The object of study of this thesis is the grammar of colours in the work of Ludwig Wittgenstein (1889-1951). Thought is given, therefore, to the internal relationships between colours and not to the external relationships between pigments, light rays, retinian processes, which would be of interest mainly to physicists, physiologists or psychologists. Thus, as this study focuses on a philosophical-grammatieal investigation, attention is turned to the normative use of descriptive words of the chromatie experience. Such use makes up a characteristic task of a phenomenology, as it aims at the conditions of the meaning and not of the truth of perception. Wittgenstein's original way to deal with the identity of colours manages to define itself only along an extensive trajectory, whose poles are, on the one side, the attempt to solve, from 1929 to 1932, an impasse existing in the Tractatus (explicitly in the aphorism 6.3751), and, on the other side, in 1950, the final sophistieated composi~ion of the Bemerkungen über die Farben. To face the task of analysing those moments, it was necessary !to have access to many more extensive sources than to the ones already published. It was even necessary to restore part of the wittgensteinian corpus, but that had the advantage of allowing the reader to follow the progress of the work, the movementof his theses, refusing, in the evident and abundant reiteration, the easy rubrie of latency, since the solution to certain issues (like the issue of a possible uniform treatment of the ample and the restriet incompatibility) results, especially, from an autotherapeutic inflexion of the work, with the concurrent introduction of new resources and concepts, and not from an evolution. However, the discourse of lactence has been refused, but that does not make the continuity less eloquent, sb that this adventure with colours might be thus summarised. In short, it has been shown why Wittgenstein finally believed it necessary to explore the space of colours and how he did it, extensively but distinctively, especially at those two moments: at the early period of his return to Cambridge and in his last years of life. But the trajectory itself and, above ali, the detail of those opposed moments of that trajectory are the fundamentaIs. Thus, this thesis shows his ultimately non-phenomenological way to deal with phenomenological problems (to describe internal relationships exposed to the sight) and it also shows the sense of his negation of a phenomenology, underlying the statement of Goethe's paradoxo. The theme of colours coincides with the deepest frame of the work and it has even served to the maturation or introduction of concepts which are essential to it. And, undoubtedly, the specific results of this grammatical investigation may enlighten central issues of the philosophy of Wittgenstein, such as the nature of the internal relationships and the nature of necessity, the grammar autonomy and the relationship between language games and ways of life. Thus, more than an, allegory, the colour is an example (and a privileged one) of the movement of the whole work / Doutorado / Doutor em Filosofia

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura

This research tries to establish whether knowledge of music and its related areas – specifically playing an instrument, singing and dancing – had an influence on the social status of a young lady in the late 18th and early 19th centuries in England. Three of Jane Austen’s novels (Sense and Sensibility, Pride and Prejudice and Emma) are analysed and the main female characters in each are scrutinised with regard to their differing levels of musical accomplishment. Their individual positions on the social ladder at the end of each novel are evaluated and their change in situation is discussed. The notion that young ladies had to be accomplished in certain specified areas in order to be socially acceptable was an established convention during Jane Austen’s lifetime. So-called “conduct books” and the general expectations of society required that all young ladies who were of a marriageable age and whose fathers could afford to have them “educated” had to be trained in music, singing, drawing, dancing and the modern languages. These patrilineal and superficial demands made on young ladies apparently irked Austen to the point of ignoring them completely when she created the main female characters for her novels: none of them conformed to the prevailing social norm. Nevertheless, each of the novels ends with the main ladies having made a conquest of a gentleman who is in a socially superior position to themselves. These matches are however love and admiration driven and the lady’s accomplishment (or lack thereof) had no influence on the inevitable result. Austen’s novels have been the inspiration for numerous adaptations, and two visual adaptations of each of the chosen three novels are studied. Each of the films or BBC TV series emphasises specific aspects of the novels and accentuates the social sphere that the characters live in. Although there are differences between the different versions (novel, film and BBC TV series), the core of each story stays the same and the results are inevitable. Austen’s supposed feministic views are pointed out in this study. Conflict of opinion exists about whether Austen’s novels are examples of the patriarchal values prevalent at the time or whether they in fact question and contradict such old-fashioned ideologies. Her connection to Mary Wollstonecraft is explored and key concerns emerging from their individual works come to the fore. Ascarelli summarises the converging viewpoints of Austen and Wollstonecraft and remarks that (2004) “women are rational creatures, and […], in order for women to fulfil their potential as human beings, they must learn how to think for themselves”. The latter two concepts and their implications are highlighted in the three Austen novels chosen for the study. There is general consensus that Jane Austen is one of the most famous authors in history and her six novels are her legacy. Although each of the novels is placed in a restricted milieu, the morals and values that are raised in each still resonate worldwide in our day and age. / Dissertation (MMus)--University of Pretoria, 2014. / gm2014 / Music / unrestricted

This dissertation aims to establish a technical discourse around Édouard Manet’s early watercolors and to clarify their intermediary function between his painting and printmaking in the 1860s. My project breaks from historically medium-specific divisions within museum collections and catalogue raisonnés to consider a series of case studies that attest to Manet’s working methods across media. Guided by collaborative efforts in conversation with curators and conservators, my close physical examination and analysis of the paintings, drawings, and prints that constitute each chapter resulted in new technical imaging that contributes unprecedented visual evidence to the study of Manet’s crucially influential career.

James Hudson Taylor is often proclaimed the Father of the Modern Faith Mission Movement. As the founder of the China Inland Mission (or modern day OMF International), it would seem that much of Taylor's legacy is indeed his pioneering work in missions and missiology. This is well worth the time and attention of researchers and students, as there is at least an assumption that many modern mission practices are patterned after Taylor's innovations. However, Taylor's life and legacy leaves the modern student with more than missiological principles. He also personally developed a unique and peculiar brand of biblical spirituality in the process of founding and leading one of the first modern faith-based, interdenominational mission societies. This research will seek to find connections between Taylor's peculiar brand of spirituality and his unique missiological leadership along with applications for the modern context. This will result in a qualitative description of Taylor's spirituality, missional leadership style along with connections with implications. / Christian Spirituality, Church History and Missiology / M. Th. (Christian Spirituality)