This thesis considers the nature of primary, intermediate and district high school buildings designed by the Building Department of the Canterbury Education Board from its consolidation in 1916 until its termination in 1989. Before 1916, the influence of British models on the CEB’s predecessors had been dominant, while after that date, Board architects were more likely to attempt vernacular solutions that were relevant to the geographic situation of the Canterbury district, the secular nature of New Zealand education and changing ideas of the relative importance of the key architectural drivers of design i.e. function and form. One development, unique to Canterbury, was that for a short period, from 1924-29, a local pressure group, the Open Air Schools’ League became so powerful that it virtually dictated the CEB’s design policy until the Board architects George Penlington and John Alexander Bigg reassumed control by inflecting the open-air model into the much acclaimed veranda block. The extent to which Board architects had the freedom to express themselves within a framework of funding control exercised by the Department of Education was further circumscribed by successive building codes that, at their most directive, required national standardisation under the 1951 Dominion Basic Plan and to a slightly lesser extent under the1956 code and associated White Lines regime. Following World War 2, the use of prefabricated structures had prompted the recognition that better designed relocatable rooms could hold the key to a more flexible and effective allocation of resources in an environment increasingly subject to rapid demographic change. By the end of the period, the exploitation of new construction technologies and modern materials led to the dominance of the relocatable CEBUS buildings in Canterbury schoolyards. A concurrent development was the response of architects A. Frederick (Fred) McCook and John Sinclair Arthur to the Department’s call to design more flexible spaces, i.e. open planning, to facilitate a change in pedagogical method. Other issues raised in this study are the CEB’s solutions to the challenges of building on the West Coast, and the recurring need to ensure structural integrity in a region where there was a continuous risk of seismic activity.

Este é um estudo da representação do imigrante alemão no romance sul-rio-grandense. Analisa cinco romances que tratam do tema: A divina pastora, de Caldre e Fião (1847), Frida Meyer, de Vivaldo Coaracy (1924), Um rio imita o Reno, de Clodomir Vianna Moog (1939), O tempo e o vento (sete volumes/trilogia), de Erico Verissimo (1949-1962), e A ferro e fogo (dois volumes), de Josué Guimarães (1972 - 1975). A análise das obras foi orientada pelas categorias Família, Trabalho, Religião, Espaço e deslocamento e Contatos. Para cada uma das categorias é feito um levantamento minucioso das informações correspondentes encontradas nas narrativas. Por meio desse processo investigativo são explicitadas as visões sobre a imigração alemã construídas por escritores diferentes em épocas diferentes, formulando-se compreensões sobre assimilação e preservação da identidade étnica e participação dos imigrantes na formação do estado do Rio Grande do Sul. / This is a study of the portrayal of German immigrants in romance written in Rio Grande do Sul. An analysis of five literary works addressing the theme is provided. The works are A divina pastora, by Caldre e Fião (1847), Frida Meyer, by Vivaldo Coaracy (1924), Um rio imita o Reno, by Clodomir Vianna Moog (1939), O tempo e o vento (seven volumes/trilogy), by Erico Verissimo (1949-1962), and A ferro e fogo (two volumes), by Josué Guimarães (1972-1975). The analysis was directed by the following categories: Family, Work, Religion, Space and dislocations and Contacts. A thorough assessment of the corresponding information found in the narratives was made for each category. The views on German immigration as constructed by different writers at different times are made explicit through such investigative process, which has raised understanding about the assimilation and preservation of ethnical identity and the participation of immigrants in the formation of the state of Rio Grande do Sul.

Este trabalho realiza a análise simbólica do tema do duplo nos contos fantásticos de Lygia Fagundes Telles, sob a perspectiva teórica dos regimes do imaginário de Gilbert Durand. Como questão central, sustenta o desvelamento dos caminhos singulares da representação que toma o duplo nos contos escolhidos da autora e como este se imbrica na teoria do imaginário. Adotam-se os seguintes procedimentos metodológicos: levantamento bibliográfico da obra e fortuna crítica da autora e pesquisa bibliográfica sobre as questões teóricas pertinentes. Após, realiza-se análise simbólica de sete contos selecionados da escritora. Encontrando-se o homem moderno fragmentado e com seu eu cindido, a temática do duplo associa-se à busca de identidade e de unicidade. A morte como tema recorrente na obra de Lygia Fagundes Telles aparece principalmente nos contos da vertente fantástica, constituindo-se como o domínio principal de representação do duplo, no momento em que se apresenta a questão da sobrevivência da alma (após a morte). Destaca-se a predominância do regime diurno do imaginário, pois esta polaridade é o regime das antíteses, condizente com os resultados alcançados pela análise do duplo. O trabalho ainda mostra a validade das hermenêuticas instauradoras de sentidos como um percurso produtivo e fecundo na interpretação de textos literários. A busca incessante da experiência da interioridade marca a essência da escritura de Lygia. Ela recusa os caminhos fáceis de uma escrita linear para embrenhar-se no discurso labiríntico do fantástico e, através dele, legitimar sua visão de mundo e suas denúncias da realidade social.

This thesis examines the viability of the concept of political liberalism. Since its emergence, the idea of a purely political liberalism has been the subject of a voluminous amount of discourse and debate. The concept of political liberalism has been presented as both a solution to the problems of justice and political stability troubling liberal democracies and an exemplar of all that is wrong with contemporary political philosophy; it has, quite literally, altered the landscape and the vernacular of contemporary political theory. Herein it is argued that, despite the significant amount of literature that has been devoted to the analysis of the idea of a purely political liberalism, the idea itself has yet to be subjected to the type of critique that is required if one is to assess its viability effectively. Though there have been a number of contemporary political theorists who have developed conceptions of political liberalism which they believe differ in important ways from those of their doctrinal colleagues, detailed analyses of the concept of political liberalism have and remain focussed almost exclusively on a single formulation: namely, Rawlsian political liberalism. This singular focus has precluded the completion of a comprehensive assessment of the viability of the concept (as opposed to a single conception) of political liberalism as represented both by Rawlsian and non-Rawlsian models. This thesis confronts this problem by expanding the scope of investigation to include a fulsome examination of other prominent paradigmatic conceptions of political liberalism namely, those developed by Charles Larmore and Judith Shklar and in so doing provides a more inclusive and, subsequently, thorough critique than has previously been offered. Adopting such an approach reveals that, despite protestations to the contrary, the prominent paradigmatic conceptions of political liberalism are sufficiently similar in all important respects to enable their conflation for the purpose of analysis; and when subjected to a thorough analysis, the idea of a purely political liberalism proves itself to be untenable. / Political Science / D. Litt. et Phil. (Politics)

x, 237 p. / We have too frequently approached American World War II poetry with assumptions about modern poetry based on readings of the influential British Great War poets, failing to distinguish between WWI and WWII and between the British and American contexts. During the Second World War, the Holocaust and the bombings of Hiroshima and Nagasaki obliterated the line many WWI poems reinforced between the soldier's battlefront and the civilian's homefront, authorizing for the first time both civilian and soldier perspectives. Conditions on the American homefront--widespread isolationist and anti-Semitic attitudes, America's late entry into the war, the bombing of Pearl Harbor, the Japanese internment, and the African American "Double V Campaign" to fight fascism overseas and racism at home--were just some of the volatile conditions poets in the US grappled with during WWII. In their poems, war shapes and threatens the identities of civilians and soldiers, women and men, African Americans and Jews, and verse form itself becomes a weapon against war's assault on identity. Charles Reznikoff, Muriel Rukeyser, Gwendolyn Brooks, and Richard Wilbur mobilize and challenge the authority of traditional poetic forms to defend the self against social, political, and physical assaults. The objective, free-verse testimony form of Reznikoff's long poem Holocaust (1975) registers his mistrust of lyric subjectivity and of the musical effects of traditional poetry. In Rukeyser's free-verse and traditional-verse forms, personal experiences and public history collide to create a unifying poetry during wartime. Brooks, like Rukeyser, posits poetry's ability to protect soldiers and civilians from war's threat to their identities. In Brooks's poems, however, only traditionally formal poems can withstand the war's destruction. Wilbur also employs conventional forms to control war's disorder. The individual speakers in his poems avoid becoming nameless war casualties by grounding themselves in military and literary history. Through a series of historically informed close readings, this dissertation illuminates a neglected period in the history of American poetry and argues that mid-century formalism challenges--not retreats from--twentieth-century atrocities. / Committee in charge: Karen Jackson Ford, Chairperson; John Gage, Member; Paul Peppis, Member; Cecilia Enjuto Rangel, Outside Member

MOURA, Fabiana Silveira. A rua e seus olhares: a belle époque carioca nas crônicas de João do Rio e de Machado de Assis. 2007. 132f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2007. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-27T11:58:31Z No. of bitstreams: 1 2007_DIS_FSMOURA.pdf: 763555 bytes, checksum: 936bdf464e943c19ad69653e7b45e95e (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-23T11:49:37Z (GMT) No. of bitstreams: 1 2007_DIS_FSMOURA.pdf: 763555 bytes, checksum: 936bdf464e943c19ad69653e7b45e95e (MD5) / Made available in DSpace on 2012-07-23T11:49:37Z (GMT). No. of bitstreams: 1 2007_DIS_FSMOURA.pdf: 763555 bytes, checksum: 936bdf464e943c19ad69653e7b45e95e (MD5) Previous issue date: 2007 / This work intends to report not only the urban and literary transformations lived by the Carioca society during the period of the last two decades of the XIX century and the first two ones of the XX century, but also the social tensions in this period, trying to reconstruct the most relevant aspects of the social and intellectual history of Rio de Janeiro fin-de-siècle, through the chronicles of João do Rio and Machado de Assis. / Este trabalho pretende abordar não somente as transformações urbanas e literárias vividas pela sociedade carioca no período que compreende as duas últimas décadas do século XIX e as duas primeiras do século XX, como também as tensões sociais ocorridas neste período, numa tentativa de reconstruir os aspectos considerados mais relevantes da História social e intelectual do Rio de Janeiro fin-de-siècle, por meio das crônicas de João do Rio e de Machado de Assis.

Este trabalho realiza a análise simbólica do tema do duplo nos contos fantásticos de Lygia Fagundes Telles, sob a perspectiva teórica dos regimes do imaginário de Gilbert Durand. Como questão central, sustenta o desvelamento dos caminhos singulares da representação que toma o duplo nos contos escolhidos da autora e como este se imbrica na teoria do imaginário. Adotam-se os seguintes procedimentos metodológicos: levantamento bibliográfico da obra e fortuna crítica da autora e pesquisa bibliográfica sobre as questões teóricas pertinentes. Após, realiza-se análise simbólica de sete contos selecionados da escritora. Encontrando-se o homem moderno fragmentado e com seu eu cindido, a temática do duplo associa-se à busca de identidade e de unicidade. A morte como tema recorrente na obra de Lygia Fagundes Telles aparece principalmente nos contos da vertente fantástica, constituindo-se como o domínio principal de representação do duplo, no momento em que se apresenta a questão da sobrevivência da alma (após a morte). Destaca-se a predominância do regime diurno do imaginário, pois esta polaridade é o regime das antíteses, condizente com os resultados alcançados pela análise do duplo. O trabalho ainda mostra a validade das hermenêuticas instauradoras de sentidos como um percurso produtivo e fecundo na interpretação de textos literários. A busca incessante da experiência da interioridade marca a essência da escritura de Lygia. Ela recusa os caminhos fáceis de uma escrita linear para embrenhar-se no discurso labiríntico do fantástico e, através dele, legitimar sua visão de mundo e suas denúncias da realidade social.

Este é um estudo da representação do imigrante alemão no romance sul-rio-grandense. Analisa cinco romances que tratam do tema: A divina pastora, de Caldre e Fião (1847), Frida Meyer, de Vivaldo Coaracy (1924), Um rio imita o Reno, de Clodomir Vianna Moog (1939), O tempo e o vento (sete volumes/trilogia), de Erico Verissimo (1949-1962), e A ferro e fogo (dois volumes), de Josué Guimarães (1972 - 1975). A análise das obras foi orientada pelas categorias Família, Trabalho, Religião, Espaço e deslocamento e Contatos. Para cada uma das categorias é feito um levantamento minucioso das informações correspondentes encontradas nas narrativas. Por meio desse processo investigativo são explicitadas as visões sobre a imigração alemã construídas por escritores diferentes em épocas diferentes, formulando-se compreensões sobre assimilação e preservação da identidade étnica e participação dos imigrantes na formação do estado do Rio Grande do Sul. / This is a study of the portrayal of German immigrants in romance written in Rio Grande do Sul. An analysis of five literary works addressing the theme is provided. The works are A divina pastora, by Caldre e Fião (1847), Frida Meyer, by Vivaldo Coaracy (1924), Um rio imita o Reno, by Clodomir Vianna Moog (1939), O tempo e o vento (seven volumes/trilogy), by Erico Verissimo (1949-1962), and A ferro e fogo (two volumes), by Josué Guimarães (1972-1975). The analysis was directed by the following categories: Family, Work, Religion, Space and dislocations and Contacts. A thorough assessment of the corresponding information found in the narratives was made for each category. The views on German immigration as constructed by different writers at different times are made explicit through such investigative process, which has raised understanding about the assimilation and preservation of ethnical identity and the participation of immigrants in the formation of the state of Rio Grande do Sul.

Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2004Bitstream added on 2014-06-13T19:48:50Z : No. of bitstreams: 1 martini_frs_me_ia.pdf: 6530425 bytes, checksum: 488d5f2b90e42c9541ceaf8ee9505801 (MD5) / Universidade Estadual Paulista (UNESP) / Nos anos 1960 a 1980, alguns artistas seguiram na contramão da chamada arte de vanguarda ou da arte dos ismos, pintando principalmente casarios - seqüências de casas geminadas, freqüente no estilo arquitetônico colonial brasileiro - um assunto empregado em determinadas pinturas de paisagens urbanas. O tema foi amplamente consumido, ainda que possa ter sido considerado ultrapassado no período. Os artistas viveram de sua arte e participavam ativamente das exposições promovidas pelas principais galerias e mostras oficiais, assim como dos leilões de arte fomentados pelos mais importantes leiloeiros. Até o pesente, a pintura referente à atmosfera colonial é mencionada nos cursos de arte, prossegue comercialmente viável e é explorada nas grandes mostras. A nossa investigação partiu da proposta de valorização e do resgate do tema, observando a produção de alguns artistas paulistas, os quais constituíram o 'Grupo Tapir'. Através do cenário artístico paulista, inserimos os nomes dos mestres responsáveis pela formação do grupo. Esboçamos uma biografia dos cinco integrantes do 'Grupo Tapir' e a respectiva análise de suas obras a partir dos preceitos de iconografia de Erwin Panofsky (1892-1968), em Significado das Artes Visuais. Buscamos assim definir os valores perceptivos simbólicos, expressivos e emocionais dos casarios, como obra de arte no contexto da pintura de paisagens, relecionando os devaneios e sonhos relativos aos significado das casas, segundo as obras filosóficas de Gaston Bachelard (1884-1962). / From 1960 to 1980 some artists followed the wrong way in the called vanguard art or the art of the 'ismos', painting mainly casarios - sequence of houses, constantly old a topic used in cetain urban landscape's paintings. The theme was throughly consumed, however it can be considered outdated in the period. The artists lived their art and participated actively of the exhibitions promoted by the main galleries and official shows, as well as the auctions fomented by the most important auctioneers. Until now, the painting regarding the colonial atmosphere is reference in the art courses, it continues commercially viable and it is explored in the great displays. Our investigation began with the proposal of valorization and rescue of the theme, observing some artist's production fom São Paulo production, who constitued the Group Tapir. Through the paulista artists scenery we insert the responsible masters name for the formation of gourp.Sketched a biography about the five members of Group Tapir and athe respective analysis of their works starting from the iconography deductions of Erwin Panofsky(1892-1968), in Meaning in the Visual Arts. With this, we intend to define the perceptive, symbolic, expressive and emotional values of the casarios, as work of art in the context of the landscape's painting relating the dream and the relative dreams to the meaning of the houses, according to the philosophical works of Gaston Bachelard (1884-1962).

Este é um estudo da representação do imigrante alemão no romance sul-rio-grandense. Analisa cinco romances que tratam do tema: A divina pastora, de Caldre e Fião (1847), Frida Meyer, de Vivaldo Coaracy (1924), Um rio imita o Reno, de Clodomir Vianna Moog (1939), O tempo e o vento (sete volumes/trilogia), de Erico Verissimo (1949-1962), e A ferro e fogo (dois volumes), de Josué Guimarães (1972 - 1975). A análise das obras foi orientada pelas categorias Família, Trabalho, Religião, Espaço e deslocamento e Contatos. Para cada uma das categorias é feito um levantamento minucioso das informações correspondentes encontradas nas narrativas. Por meio desse processo investigativo são explicitadas as visões sobre a imigração alemã construídas por escritores diferentes em épocas diferentes, formulando-se compreensões sobre assimilação e preservação da identidade étnica e participação dos imigrantes na formação do estado do Rio Grande do Sul. / This is a study of the portrayal of German immigrants in romance written in Rio Grande do Sul. An analysis of five literary works addressing the theme is provided. The works are A divina pastora, by Caldre e Fião (1847), Frida Meyer, by Vivaldo Coaracy (1924), Um rio imita o Reno, by Clodomir Vianna Moog (1939), O tempo e o vento (seven volumes/trilogy), by Erico Verissimo (1949-1962), and A ferro e fogo (two volumes), by Josué Guimarães (1972-1975). The analysis was directed by the following categories: Family, Work, Religion, Space and dislocations and Contacts. A thorough assessment of the corresponding information found in the narratives was made for each category. The views on German immigration as constructed by different writers at different times are made explicit through such investigative process, which has raised understanding about the assimilation and preservation of ethnical identity and the participation of immigrants in the formation of the state of Rio Grande do Sul.