No description available.

Over the last twenty-five years, women's historians have striven with the problem of how to uncover women's lives in the past. The early concern with merely "retrieving" women's life stories has recently been augmented by a more theoretically- informed approach which takes into consideration issues of experience, voice, and representation, and which challenges the notion of absolute objectivity. This study was designed as a contribution to the latter type of historical research informed by the sociological debates on these issues, and was influenced by feminist materialist approaches that insist on accounting for both the content of experiences and the various discursive positions occupied by subjects. Specifically, it examines the bases of identity construction in the lives of two women teachers (Susan Abercrombie Holmes and Susan Suckley Flood) in nineteenth-century British Columbia, a context in which relatively little work on the history of women has been done. Identity is not perceived as given or static, but rather as constructed, changing, and sometimes contradictory. Even those markers of identity commonly called upon to describe a person- such as gender, race, class, religion, and nationality-are seen as problematic, and their ambiguities are discussed in relation to the life stories of the two women. Subsequently, the effects of these "markers" are further adumbrated through an examination of some of the less obvious ways in which the women's identities were constructed. These are all seen as interrelated, and include the influences of their families of origin on the women's earlier lives, especially regarding their education and marriage decisions, their functions as economic agents, their social relationships, and their self-images or self-representations. To the extent that these were fashioned by their gender identity, many similarities can be seen in their lives, but their experiences also diverged (widely or narrowly) as a result of their differences in other aspects, notably racial identity. These differences had a profound effect on the type and degree of material and ideological constraints placed upon them, and thus on the degree to which they were able to shape the construction of their own identities.

The dissertation presented a performance analysis and comparison of two major timpani concertos. The Concerto for Five Kettledrums and Orchestra by Robert Parris and the Concerto for Timpani and Orchestra by Werner Thaerichen were chosen for the study because they have been performed by major symphony orchestras, they have been performed at the advanced collegiate level, and because both concertos were written for five timpani and a similar orchestra instrumentation.Initially, each composition was thoroughly analyzed in regard to the specific techniques necessary for a consistent, musical performance. The performance analysis attempted a measure by measure explanation of the solo parts with musical examples; the measures were grouped according to musical phrasing or common technical problems. Some of the more complex phrases were then more minutely examined to focus on a specific performance problem. The mastery of a particular technique or movement was often facilitated by an exercise developed from the performance problem. A number of such exercises were presented and explained in the performance analysis.The comparative performance analysis was presented to best illustrate and illuminate the following similarities and dissimilarities:1. The basic difficulty, in both the composition and performance of a timpani solo, is that of a conjunct, lyrical, multiple-pitched line as opposed to the more idiomatic disjunct, fragmented exchange of solo material with the accompaniment. This was the basis of the comparative analysis. The Parris Concerto is lore linear and lyrical, whereas the Thaerichen Concerto is more fragmented. The Thaerichen solo has for one, two, or three drums and rhythmic work is definitely linear and depends less upon single and two drum figures to create and maintain interest. In this sense, the to the extent that the Thaerichen Concerto does.2. Because of the melodic nature of the material, the Parris Concerto was more demanding in interpretation than was the Thaerichen Concerto. The solo timpani pant in the Parris Concerto is foreground material and is more expressive than the ostinato, background material of the solo part of much of the Thaerichen Concerto.3. There are similar and dissimilar sticking situations which demanded study and experimentation to produce the most musical results. Similarities in stickings include right-hand and lefthand-lead, stick doublings and a combination of alternate stickings and stick doublings. The Thaerichen solo has two passages utilizing repeated eighth-notes in one hand and a melody around the drums with the other; similar stickings are not required in the Parris. However, the Parris solo has complex arms-crossed stickings and almost acrobatic arm and foot movements.4. Tuning schemes vary more frequently aid more dramatically in the Parris Concerto.The performance analysis and comparison substantiated these similarities and dissimilarities and further revealed that the length and many repetitions of the Thaerichen solo demanded the utmost concentration and consistency due to the static nature of many passages. The Parris is more compact, with many varied performance problems facing the soloist every few measures. The variety of melodic material, articulations, and mallet movements result in the Parris Concerto being the more difficult. The Thaerichen Concerto makes fewer technical demands, and spaces them farther apart. In many passages of the Thaerichen, the tuning scheme remains the same. Also, tempo does not vary as often as it does in the Parris. The Parris solo features more foreground material, with its melodic phrases supported by the orchestra; whereas, the timpani in the Thaerichen is a part of the overall orchestral texture, only occasionally being allowed to assume a principal melodic role.This study was undertaken as a guide for the timpanist desiring to study and perform these works. Specific solutions to performance problems have been offered as a means of achieving technical mastery and as a motivation to further explore and exploit one's personal performance skills and talents.

No description available.

Based on author's thesis (doctoral)-- West Virginia University, 2001. / Includes bibliographical references (p. 267-288) and index.

El presente trabajo analiza la aproximación al haiku de Javier Sologuren y Alfonso Cisneros Cox en el marco del creciente interés por este género a nivel latinoamericano. El análisis se centra en la comparación de los haikus con el modelo clásico japonés, tal como lo practicó Matsuo Bashō, siguiendo las teorías de los estudiosos Keene, Rodríguez Izquierdo, Rubio, Blyth y Haya Segovia. El haiku es valorado y ponderado como una expresión poética orientada a evocar un instante de experiencia en la naturaleza, logrando despertar el asombro ante la maravilla de la existencia. Los resultados del trabajo revelan la íntima afinidad de ambos poetas con el género, las modalidades de apropiación que practicaron, la priorización de ciertos aspectos estilísticos y espirituales en su comprensión del haiku, la innovación en los recursos para lograrlo y la singularidad de sus creaciones, basada en la mezcla auténtica del género con sus propias poéticas. La principal conclusión que puede desprenderse de este trabajo es que los autores asimilaron este género poético para dar forma y expresión a su particular sensibilidad e integrarlo a la tradición poética peruana. / Tesis

This thesis examines the experiences of the overseas Chinese in the Russian Far East during the revolutionary and Civil War period from 1917 to 1920, as well as their responses to the upheaval. Bucking the current trend towards transcultural history, the thesis argues that Chinese identity and nationalist language were of prime importance to this community. By concentrating on Chinese-language sources, the thesis re-privileges the community's internal discourses and highlights the prevalence of nationalist rhetoric across the Sino-Russian border. It also sites the Chinese community's use of nationalist language within the context of the global diaspora, for which questions of national weakness and revival were also pressing. Going further, the thesis postulates the presence of "Chinese nationalism with Russian characteristics", in which the issues surrounding Chinese nationalism as a whole were heightened. It shows that the rhetoric of 'national humiliation' and victimhood were particularly immediate to the community in the Russian Far East, since it was located at one of the epicentres of imperial contestation. In practice, this led to a modus vivendi with the Reds and a decisive turn against the Whites. Furthermore, the chaos of the revolutions and Civil War imbued this nationalism with an opportunistic quality. The collapse of Russian state power became the 'opportunity of a thousand years' for China to redress past wrongs. This allowed the overseas community to work closely with local authorities and the Beijing government to achieve shared goals. New civil society organisations with community-wide aims were formed. Beijing extended its diplomatic reach in the form of new Far Eastern consulates. Finally, common nationalist rhetoric underpinned China's successful attempt to re-establish its civilian and military presence on the Amur River. "Chinese nationalism with Russian characteristics" could be effectively harnessed to secure multi-level and cross-border cooperation.

Esta dissertação partiu de algumas constatações e preocupações pessoais sintetizadas nestas duas questões: como a TV pode ser utilizada na e para a educação? Como precisa ser a formação dos professores para que isso aconteça? O objeto central da investigação, definido com os estudantes participantes, foi o estudo de mensagens televisivas desenvolvido na perspectiva da pesquisa participante, valendo-se dos registros em diário de campo, de entrevistas abertas e de relatos escritos pelos alunos. As respostas foram procuradas numa pesquisa desenvolvida na Educação de Jovens e Adultos – EJA – de uma escola pública de Caxias do Sul, com vistas a examinar o uso da TV no processo de aprendizagem do aluno trabalhador. Os autores que orientaram meu referencial teórico foram Paulo Freire e Jesús Martin-Barbero, dos quais me vali para definir as categorias: Conscientização, Decodificação e Mediação, usadas para análise dos dados que reuni ao longo das atividades. Buscando interpretar a realidade a partir desses teóricos, apresento nesta Dissertação, excertos contextualizados e comentados de intervenções de alunos e algumas reflexões sobre a presença cotidiana da TV na vida daqueles estudantes e sobre as possibilidades descobertas quanto ao uso dessa mídia na escola. Finalizo sugerindo alguns horizontes possíveis vislumbrados durante este percurso, os quais considero necessário considerar nos processos de formação inicial e continuada de professores, com o objetivo de qualificar o uso da TV na escola como um recurso estratégico para o desenvolvimento da consciência crítica de professores e alunos da Educação Básica.

O conceito iluminista de autonomia, que adquire centralidade em Kant, foi essencial para o desenvolvimento da sociedade e da educação desde a modernidade. Kant propôs uma educação a partir da metafísica da subjetividade como uma ética aplicada, formulou tal sentido por meio de uma fundamentação filosófica racionalizada de autodeterminação e autonomia. Para ele, o homem guiado pela sua razão universal, agindo por dever, segundo o imperativo categórico, é auto-responsável e autônomo, enquanto o homem sensível que recebe influências externas à razão é o homem em condição de heteronomia. Em Paulo Freire a autonomia ganha um sentido sócio-político-pedagógico, cabe à educação formar o homem consciente e crítico, capaz de transformar as estruturas opressoras e alienantes, capaz de transformar as condições concretas de heteronomia. Para Freire, autonomia se dá a partir da práxis que leva à libertação. Esse trabalho tematiza, a partir de Kant e Freire, aspectos de uma educação que vise superar as heteronomias do nosso tempo e formar para a autonomia. Para tal, analisamos a concepção de autonomia de cada autor, as heteronomias contra as quais se voltam, as confluências e dissonâncias entre ambos os autores, bem como, as heranças kantianas presentes em Freire. Em oposição às correntes tecnicistas, abordamos a educação como formação da totalidade do humano, por isso também analisamos os aspectos políticos, éticos e estéticos envolvidos na proposta de educação para a autonomia dos autores. Ao tratarmos da formação estética abordamos Schiller, que é um continuador da obra de Kant e que, juntamente com Freire, nos mostra a importância de, ao falarmos de autonomia, não pensarmos ética e estética como opostas. / The Enlightenment concept of autonomy, which comes to a center stage in Kant, was essential for the development of society and education since modernity. Kant proposed an education from the metaphysics of subjectivity as applied ethics, formulated this meaning through a rationalized philosophical fundament of self-determination and autonomy. To him, the man guided by his universal reason, acting out of duty, according to categorical imperatives, is self-responsible and autonomous, while the sensitive man who receives influences external to reason is a man in a heteronymous condition. In Paulo Freire, autonomy receives a social-political-pedagogical meaning, it’s up to education to form the conscious, critical man, capable of transforming oppressive and alienating structures, capable of transforming the concrete conditions of heteronomy. To Freire, autonomy occurs from the starting point of practice leading to liberation. This paper deals, from the starting points of Kant and Freire, with aspects of an education that aims to overcome the heteronomies of our time, and to form people for autonomy. In order to do so, we analyze each author’s concept of autonomy, the heteronomies against which they direct themselves, the confluences and dissonances between the authors, as well as the kantian heritage present in Freire. Opposing the technicist currents, we approach education as the formation of the totality of the human being, and thus also analyze the political, ethical and aesthetical aspects involved in the authors’ proposition of education for autonomy. When dealing with aesthetical formation, we touch on Schiller, a follower of the work of Kant who, along with Freire, shows us the importance of, when speaking of autonomy, not thinking of ethics and aesthetics as opposed concepts.

Despite the fact that the French philosopher Gilles Deleuze has included many contemporaries, co-workers and friends of Chris Marker in his controversial writings on film, Marker himself is missing among the analyzed filmmakers. This thesis challenges the supposed passiveness between both authors assuming certain intersections between their thoughts, aiming to look at several of Chris Marker's emblematic films - indeed not comprehensively, rather naturally subjectively - through the key themes from some of Gilles Deleuze's books. Statues Also Die and Cinama II: The Time-Image; La Jetée and Bergsonism; Sunless and Proust and Signs.