My thesis examines the policy of the Vancouver Art Gallery (VAG) as it affected the representation of art in its community in the 1960s and '70s. It was begun in order to understand what determined the changes in policy as they were experienced during this period, which saw an enormous expansion in the activities of the Gallery. To some extent the expansion was realized by means of increased cultural expenditure by the federal government, but this only made programmes possible, it did not carry them out. During the 1960s the Vancouver Art Gallery gained a measure of international recognition for its innovative programming, which depended to a degree on the redefinition of its relationship to the local, whether that signified its traditional patronage, Vancouver artists or the "man in the street". VAG's new outreach programme was not unique, but it was contemporary with developments in other locations. Given the popular and critical success of his policy, VAG director Tony Emery pushed it to the relative exclusion of the more traditional type of gallery programme, in this manner angering VAG's "more conservative" audience. With the first indications of a fiscal crisis in the 1970s, the government began reining in public expenditure, including that on the arts. There was first a freeze on funding to the larger arts institutions, which by now included the Gallery, and then the slow withering of government support. VAG's experiments in programming, which had been made possible through this support, became expendable, and there was soon a re-orientation towards more traditional programmes, accompanied by another redefinition of the Gallery's audience. The Gallery's structure, policy and programme were gradually transformed to fit an increasingly corporate model or paradigm in order to secure the extra funds it needed to remain solvent. A crucial aspect of this change was the plan to move the Gallery into larger quarters, which would be more attractive to donors and collectors, and which would allow prestigious exhibitions to be brought into the city. The thesis undertakes to examine the vagaries of Gallery policy with the aid of the current literature on museums and government cultural policy, and with government and Gallery documents. The other major section examines the formation of the reputation of Robert Rauschenberg, as it bears on the reception of a group of his works exhibited at VAG in 1978. Rauschenberg was an artist in frequent contact with Vancouver through exhibitions of his work at a private gallery, and the consolidation of his reputation following the 1976 retrospective of his work by the Smithsonian made his work apt for the promotion of VAG. Rauschenberg's use-value for VAG depends on a particular reading of his work which had become generalized after 1963, and reinforced in 1976, which was appropriate to the new Gallery role promoted by VAG's paladins. This interpretation, which was developed by Alan Solomon in 1963, fixed Rauschenberg's works as celebrations of a way of looking at one's environment and of what was looked at. Solomon's reading became the accepted one, but by an examination of the reception of Rauschenberg's art prior to 1963, and by an analysis of two of his works, I argue that it is neither the only possibility nor even the most accurate one. In the 1970s, critics conflated Rauschenberg's earlier and later work within the context of Solomon's interpretation, which has hardly been expanded upon. They have usually tried to establish an identity of the earlier and later work, based upon Solomon's reading, where I am trying to establish their difference. An analysis of two of the works which appeared in the 1978 Works from Captiva exhibition at VAG indicates the differences with the earlier work and the susceptibility of their iconography to the new role the Gallery was attempting to promote. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

This document examines Luciano Berio's Cinque Voriationi for solo piano (1952-3, rev. 1966) from the perspective of a performer seeking to convey something of the organization of its musical material to a broad audience. Criteria for identifying elementary partitioning (pulse) and grouping (gesture, phrase segments, and phrases) are explored. In analysing relationships between phrases and phrase groups several things must be considered: specific pitch issues, distinctions between primary and auxiliary or accompanimental material, and contour. Throughout the document, suggestions are given for successful realization of fundamental grouping structures in performance. Although the piece has elements of serial construction, it is primarily underlying linear motion which gives sections cohesiveness. Also, certain pitch classes are given special emphasis and become vital reference points. The placement of and linear movement around these emphasized pitch classes create traditional tonal implications, to varying degrees throughout the work. Cinque Variationi is a set of variations for which no theme is provided, and it is far from obvious what is being varied. After examining the grouping structures of this piece, it becomes clear that variations refer to each other in unsystematic ways, and that pitch centers serve as reference points across variations. / Arts, Faculty of / Music, School of / Graduate

An electronic (HTML) thesis on late University of British Columbia professor Wilson Duff, an anthropologist central to the construction of Northwest Coast art in the 1960s and 1970s. It brings together textual fragments (historic and contemporary, archival, interview transcripts) within a framework which attempts to balance truth (original authorial intent and the context and academic debates of that period) with the impossibility of truth (the notion of partial, situated truths and critical, presentist re-readings of Duffs work some twenty-five years later). The narrative structure is simultaneously linear and pure hypertext, depending on the reader's choices. No two paths will be the same. / Arts, Faculty of / Anthropology, Department of / Graduate

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Master of Science

The effect of fertilizers and the variable weather conditions of temperature and moisture have presented many problems of a scientific nature of the agronomist. Not only has this been true for some time with the scientific agronomist, but of late years these problems have found their place in the working knowledge of the practical farmer from a crop standpoint. Many times the farmer fails to get a stand of certain crops due to bad germinations of the seed. This is attributed to bad seed, disease seed, old seed, to wet land and many other similar reasons. Not until recent years has the farmer attributed the inability to get a good stand of different crops on the land to the effect of fertilizers. Some of the more wide-awake farmers of today have noticed repeatedly that with certain seeds when sown with certain fertilizers a poor germination has always resulted. It has become common practice of many farmers in planting crops in which the seed is sown with the drill to mix the fertilizer with the seed and sow it out the same spout together, thus putting the fertilizer in contact with the seed. Many of the farmers are reporting bad germination from this practice and are asking for information about the effect of certain fertilizers on germination of certain seeds. To be able to give practical information on such problems as these, is the aim for this experiment work. / Master of Science

Clarice Lispector (1920-1977), uma das mais importantes escritoras brasileiras, paralelamente à criação de suas obras, colaborou também para diferentes jornais e revistas, escrevendo textos de diversa índole. Até hoje foram editados dois livros que compilam parte desse acervo “jornalístico” deixado pela autora: Para não esquecer e A descoberta do mundo. O primeiro é uma coletânea de textos curtos, alguns publicados originalmente na revista Senhor. O segundo reúne a maioria dos textos veiculados em O Jornal do Brasil, entre 1967 e 1973. São justamente esses volumes que servem de ponto de partida e base para a presente dissertação. Em primeiro lugar, ao apercebermo-nos da redução implícita no rótulo que cataloga os mesmos (crônicas), empreendemos a difícil e sempre provisória tarefa de esboçar uma tipologia genológica dos textos para efeitos, sobretudo, de ordená-los de modo a facilitar sua abordagem. Assim, dentro desse conjunto heterogêneo de textos, encontramos crônicas, ensaios, contos, poemas em prosa, cartas e entrevistas, entre outros. Em segundo lugar, ao constatar a abundância e relevância dos textos em que Clarice Lispector se detém na consideração de assuntos como arte, artista, literatura, linguagem, enfim, escrita, propusemo-nos o desvendamento de um projeto estético que atravessaria, como um fio condutor, os dois volumes e que, visto o alcance do mesmo demonstrado pelo nosso trabalho, pode, muito bem, abrir as portas para um futuro (e renovado) estudo da obra completa da autora sob o prisma de suas próprias considerações filosóficas e estéticas. / Clarice Lispector (1920-1977), una de las más importantes escritoras brasileñas, paralelamente a la creación de sus obras, colaboró también para diferentes periódicos y revistas, escribiendo textos de diversa índole. Hasta la actualidad se editaron en Brasil dos libros que compilan parte de ese acervo “periodístico” dejado por la autora: Para não esquecer e A descoberta do mundo. El primero es una recopilación de textos cortos, algunos de los cuales fueron publicados originalmente en la revista Señor. El segundo, reúne la mayoría de los textos divulgados en O Jornal do Brasil, entre 1967 y 1973. Son justamente esos volúmenes que sirven de punto de partida y de base para la presente disertación. En primer lugar, al notar la reducción implícita en el rótulo que cataloga los mismos (crónicas), emprendimos la ardua y siempre provisoria tarea de esbozar una tipología de género de los textos a efectos, sobre todo, de ordenarlos para facilitar su abordaje. De esa forma, dentro de ese conjunto heterogéneo de textos, encontramos crónicas, ensayos, cuentos, poemas en prosa, cartas y entrevistas, entre otros. Segundo, al constatar la abundancia y relevancia de los textos en que Clarice Lispector se detiene en la consideración de temas como arte, artista, literatura, lenguaje, en definitiva, escritura, nos propusimos descubrir un proyecto estético subyacente que recorrería, como un hilo conductor, los dos volúmenes y que, visto el alcance del mismo demostrado por nuestro trabajo, puede, perfectamente, abrir las puertas para un futuro (y novedoso) estudio de la obra completa de la autora a la luz de sus propias consideraciones filosóficas y estéticas.

Em 2002, o Partido dos Trabalhadores (PT) venceu as eleições para a presidência do país, alimentando a expectativa de uma série de mudanças sociais no Brasil, visto que seu Governo é formado por segmentos sociais que historicamente lutaram pela transformação do país, como, por exemplo: lideranças de movimentos sociais e exguerrilheiros da luta armada das décadas de 1960 e 1970. Contudo, as transformações sociais esperadas não ocorreram, colocando em questão a perspectiva de uma mudança levada pela esquerda no poder do Estado. Para refletir sobre esse impasse da transformação social, esta pesquisa tem como objetivo investigar os discursos de exguerrilheiros sobre a transição da luta armada ao atual momento político: uma democracia neoliberal. Para tanto, entrevistamos quatro ex-participantes da luta armada que ocupam distintas posições sociais, que chamamos de: Deputado, Economista, Fotógrafo e Jornalista. Escolhemos os ex-guerrilheiros como atores da pesquisa, por entendermos que, durante a ditadura militar, adotaram a forma mais radical de luta para a transformação social. A partir da análise da memória reconstruída de nossos atores sociais e das reflexões do filósofo Gilles Deleuze sobre o agenciamento e o campo transcendental, elaboramos três discursos que expressam a transição da luta armada à democracia: a Estratopolítica, a Tecnopolítica e a Nomadopolítica. Cada discurso refere-se a uma modalidade singular de agenciamento, num tipo específico de funcionamento que articula prática política, memória e configuração psíquica. Cada discurso tem perspectivas distintas sobre os caminhos para a transformação social, em que o primeiro coloca a determinância dos estratos, das instituições e do Estado para fomentar as mudanças sociais; o segundo, no desenvolvimento de uma tecnologia da governabilidade, de saberes sobre a gestão; e o terceiro, na primazia dos movimentos e dos deslocamentos, numa prática mais fluida e molecular. Concluímos, corroborando com as reflexões de G. Deleuze & F. Guattari (1997), R. Michels (1982) e A. Przeworski (1991), que a esquerda no Governo atua numa fixação à Instituição-Estado, tendo um maior compromisso com a ocupação de lugares na estrutura institucional do que com o fazer político transformador, ou seja, atua predominantemente de forma estratopolítica. Palavras-chave: Ditadura, Estado, Política, Memória, Deleuze, Gilles, 1925-1995. / In 2002, the Workers Party (PT) won the elections for the country\'s presidency, inspiring the expectation of many social changes in Brazil, once it Government is compound by social segments that historically struggled for the transformation of the country, as leaderships of social movements and former-guerrilla fighters of armed struggle. However, the expected social changes didnt happen, putting in question the perspective of a transformation by Left in State\'s power. To reflect upon this problem, this research intended to investigate the discourses of the former-guerrilla fighters about the transition from the armed struggle to the current political moment: a neoliberal democracy. To achieve this scope, we interviewed four former-guerrilla fighters that occupy different social positions, that we called: Deputy, Economist, Journalist and Photographer. We elected the former-guerrilla fighters as actors of this research because we understand they adopted the most radical struggle for social transformation during the military dictatorship. From our social actors\' rebuilt memory analysis and Gilles Deleuze\'s reflections on the agency and the transcendental field, we elaborated three discourses that express the transition from armed struggle to democracy: the Stratumpolitics, the Technopolitics and the Nomadpolitics. Each discourse refers to a singular agency modality, in a specific type of operation that articulates political practice, memory and psychic configuration. Each discourse has different perspectives about the ways to social transformation: the first puts the determining in the stratum, institutions and State to promote social changes; the second, in a development of a governability technology, of management\'s knowledges; the third, in the primacy of movements and displacements, in a more diffuse and molecular practice. We concluded, in agreement with G. Deleuze and F. Guattari (1997), R. Michels (1982) and A. Przeworski (1991)\'s reflections, that Left in Government acts in a fixation at the State-Institution, with more compromise to places\' occupation in the institutional structure than to a transformer political practice, i.e., it acts mainly in stratumpolitics way.