George Grosz's paintings and drawings of Berlin during the Weimar period demonstrate a complex matrix of tensions between nature and the urban experience. In his work, mechanization, sexuality, gender and animality are recurring themes that cue the viewer to the profound anxiety that modernity had unleashed a chaotic force into the city. Using an ecofeminist analysis, I show how the disorder of the city was imagined as a primordial human condition in which a previously disavowed connection to nature was suddenly foregrounded. Though Grosz's renditions of Berlin scenes are ironic, they also revel in the demise of social order. In this thesis, I argue that Grosz's art deploys the conceptual force of unmastered nature as a critical tool, at the same time showing how nature was integrated into the cultural fabric of urban life.

The Taliesin Preservation Commission works to preserve Taliesin - Frank Lloyd Wright's Wisconsin estate in Spring Green, Wisconsin - while educating the public about the importance of Taliesin and Wright. The Commission is a private, not-for-profit organization whose future depends on private donations and grants. Creating a presence for the Commission on the Internet will allow the organization to substantially achieve its goals by increasing awareness and education while heightening funding opportunities. This project created a website for the Taliesin Preservation Commission. The effort involved background research into the Internet, its capabilities, the Commission, and their needs. While this information supported the development of the project, the project focused on the web authoring. The primary activities included site content development, site organization, research, writing of text, graphic development, page design, and HTML code writing. In addition, the project secured website storage space and dial-up access for the Commission. It concluded with the launching of the Taliesin Preservation Commission's website at www.taliesinpreservation.org. / Department of Architecture

Recent international scholarship has placed new emphasis on women’s formative role in the social, economic, political and cultural lives of their respective communities. Some researchers have suggested the greatest legacy of women’s organised contribution to those communities can be found in the history of their voluntary work. Others have urged greater recognition of that contribution through landmark recognition and historic preservation programs. To date, women’s voluntary work in Queensland has drawn limited scholarly interest and it is not well represented on the State Heritage Register. Attempts to establish links between cultural heritage and women’s history generally have been restricted to national heritage agencies in North America and Australia. However, methodologies tended to rely on existing historiography which was traditionally non-inclusive of women, and gaps in the record remained a problem. This thesis seeks to address these developments by undertaking a comprehensive gender-sensitive study of women’s voluntary work and its associated place-based dimensions, across ninety-four groups in Queensland between 1859 and 1959. A central hypothesis asserts women’s formative role as historical agents and community builders, and argues that participation in voluntary work provided opportunities to enrich and empower lives. A social history approach emphasises the diversity of women’s volunteer experiences over time and their manifestation in the built environment. The capacity of cultural heritage to effectively and comprehensively represent those experiences and map key contributions to building and shaping communities is also tested. Research confirms a direct correlation between broader historical developments and women’s volunteer responses in groups. Women reacted proactively, spontaneously and creatively to changing community needs. They committed their collective voluntary labour to address shortcomings in government policies and emerging inequalities in society, to support a nation at war and the work of various Church denominations. These findings validated women’s creative and progressive agency in volunteer-based groups to building and shaping communities, and confirmed their contribution was sustained and consistent over time. Although most volunteer experiences reflected traditional definitions of gender, more expansive opportunities were available to office-bearers, as well as those involved in self-development groups, the suffrage movement and mobilising for the war effort. Government policy did, however, attempt to restrict women’s voluntary wartime work to conventional roles, as did male-dominated ecclesiastical views within church-affiliated groups. Regardless of work or group type, evidence suggests that participation was nevertheless an empowering process. It enriched the lives of many women and facilitated their transition from the private domain of home and family to the public arena. The pioneering nature of women’s voluntary work, especially in nineteenth century Queensland, further enhanced that journey. While voluntary work over this period was dominated mostly by married upper- and middle-class women, single women were well represented. All groups benefitted from career volunteers, who displayed high levels of participation within and across groups. Many participants were motivated by strong altruist ideals, although patriotism and government propaganda played a major role during the war years, as did the influence of the Church and strong Christian beliefs for those involved in groups with a religious affiliation. A key outcome of the study is the identification of some 700 cultural heritages sites, just over half of which appear on an indicative list of places by theme. They reflect the diversity and development of women’s volunteer experiences in Queensland between 1859 and 1959 and provide tangible evidence of their sustained contribution in volunteer-based groups to processes that build and shape communities over time. Collectively, however, these sites tend to strengthen the conservative view of women’s roles, in that they were associated with services which often reflected concerns about issues impacting on home and family. Groups pursuing social or political reform were also disadvantaged in that their sites were restricted in number and frequently limited to public space and bureaucratic or ministerial offices. Likewise, the efforts of Church-based groups were diffused, given their sites of association were, in many cases, not their own. As the first of its kind in a Queensland setting, this study provides substantive findings in an area not well served by scholarly researchers in the past. It also offers an alternative gender-sensitive approach to establishing links between women’s history and cultural heritage. In addition, it has the potential to lift the visibility of women’s voluntary work through landmark recognition and historic preservation programs, whether as new entries on heritage registers, additional information for existing listings, plaque placement or memorial programs and heritage trails.

Recent international scholarship has placed new emphasis on women’s formative role in the social, economic, political and cultural lives of their respective communities. Some researchers have suggested the greatest legacy of women’s organised contribution to those communities can be found in the history of their voluntary work. Others have urged greater recognition of that contribution through landmark recognition and historic preservation programs. To date, women’s voluntary work in Queensland has drawn limited scholarly interest and it is not well represented on the State Heritage Register. Attempts to establish links between cultural heritage and women’s history generally have been restricted to national heritage agencies in North America and Australia. However, methodologies tended to rely on existing historiography which was traditionally non-inclusive of women, and gaps in the record remained a problem. This thesis seeks to address these developments by undertaking a comprehensive gender-sensitive study of women’s voluntary work and its associated place-based dimensions, across ninety-four groups in Queensland between 1859 and 1959. A central hypothesis asserts women’s formative role as historical agents and community builders, and argues that participation in voluntary work provided opportunities to enrich and empower lives. A social history approach emphasises the diversity of women’s volunteer experiences over time and their manifestation in the built environment. The capacity of cultural heritage to effectively and comprehensively represent those experiences and map key contributions to building and shaping communities is also tested. Research confirms a direct correlation between broader historical developments and women’s volunteer responses in groups. Women reacted proactively, spontaneously and creatively to changing community needs. They committed their collective voluntary labour to address shortcomings in government policies and emerging inequalities in society, to support a nation at war and the work of various Church denominations. These findings validated women’s creative and progressive agency in volunteer-based groups to building and shaping communities, and confirmed their contribution was sustained and consistent over time. Although most volunteer experiences reflected traditional definitions of gender, more expansive opportunities were available to office-bearers, as well as those involved in self-development groups, the suffrage movement and mobilising for the war effort. Government policy did, however, attempt to restrict women’s voluntary wartime work to conventional roles, as did male-dominated ecclesiastical views within church-affiliated groups. Regardless of work or group type, evidence suggests that participation was nevertheless an empowering process. It enriched the lives of many women and facilitated their transition from the private domain of home and family to the public arena. The pioneering nature of women’s voluntary work, especially in nineteenth century Queensland, further enhanced that journey. While voluntary work over this period was dominated mostly by married upper- and middle-class women, single women were well represented. All groups benefitted from career volunteers, who displayed high levels of participation within and across groups. Many participants were motivated by strong altruist ideals, although patriotism and government propaganda played a major role during the war years, as did the influence of the Church and strong Christian beliefs for those involved in groups with a religious affiliation. A key outcome of the study is the identification of some 700 cultural heritages sites, just over half of which appear on an indicative list of places by theme. They reflect the diversity and development of women’s volunteer experiences in Queensland between 1859 and 1959 and provide tangible evidence of their sustained contribution in volunteer-based groups to processes that build and shape communities over time. Collectively, however, these sites tend to strengthen the conservative view of women’s roles, in that they were associated with services which often reflected concerns about issues impacting on home and family. Groups pursuing social or political reform were also disadvantaged in that their sites were restricted in number and frequently limited to public space and bureaucratic or ministerial offices. Likewise, the efforts of Church-based groups were diffused, given their sites of association were, in many cases, not their own. As the first of its kind in a Queensland setting, this study provides substantive findings in an area not well served by scholarly researchers in the past. It also offers an alternative gender-sensitive approach to establishing links between women’s history and cultural heritage. In addition, it has the potential to lift the visibility of women’s voluntary work through landmark recognition and historic preservation programs, whether as new entries on heritage registers, additional information for existing listings, plaque placement or memorial programs and heritage trails.

Made available in DSpace on 2014-06-11T19:32:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-09-05Bitstream added on 2014-06-13T20:44:19Z : No. of bitstreams: 1 noronha_lmr_dr_ia.pdf: 869193 bytes, checksum: e1bebafd8a3785a8fe6533086cf1d0f9 (MD5) / Este é um trabalho de história da música que traz um estudo sobre o compositor francês Darius Milhaud, sua inserção no cenário musical nacionalista francês e a conexão com o Brasil. Pretende-se mostrar o lugar de Milhaud como compositor francês sob a ótica das teorias do nacionalismo, do autor inglês Anthony D. Smith, e das teorias sociológicas de Pierre Bourdieu, sobre o campo de produção simbólica no âmbito da música erudita. Aborda-se também a interferência do cenário musical brasileiro na formação de Milhaud como compositor francês cuja obra teve grande repercussão na França durante o período do entreguerras. Destaca-se a importância da estada de Milhaud no Brasil, de 1917 a 1918, como um período decisivo no que concerne às suas experimentações composicionais e ao delineamento da sua carreira como compositor. Aborda-se também sua conexão com a tradição e com o Neoclassicismo. Conecta-se a apropriação da música popular brasileira na sua obra com as concepções da vanguarda europeia da época. Busca-se estabelecer a relação entre Milhaud e Villa-Lobos a partir das diretrizes estéticas trazidas pelo nacionalismo e a estética neoclássica das décadas de 1920 e 1930 / This is a paper in music history presenting a study on French composer Darius Milhaud, his position in the French Nationalist music scene and his connection with Brazil. The paper will attempt to show Milhaud's status as a French composer as viewed through the lens of the Nationalism theories by English author, Anthony D. Smith, and the sociological theories by Pierre Bourdieu concerning the field of symbolic production in classical music. The pap er also covers the influence of the Brazilian music scene on Milhaud's background as a French composer whose oeuvre attracted attention in France during the Interbellum period. A special emphasis is given to the key role that Milhaud's stay in Brazil between 1917 and 1918 played in his compositional experimentations and in the establishment of his career as a composer. Additionally, the paper looks at his connection with tradition and Neoclassicism, and considers a link between the appropriation of Brazilian popular music in Milhaud's oeuvre and the concepts behind the European avant-garde of the time. The paper also sets out to establish a relationship between Milhaud and Villa-Lobos, based on the aesthetics ideals from both Nationalism and the aesthetics of Neoclassicism, during the 1920s and the 1930s

La tesis se centra en el análisis de la figura de Chopin en la novela Silencio de Blanca de José Carlos Somoza. La novela tiene dos relatos: uno principal y el otro secundario; además, en la novela se encuentran numerosas anotaciones sobre los Nocturnos de Chopin. En el primer relato la narración se centra en la relación que entabla Héctor con Blanca, y, luego, las relaciones que surgen entre el protagonista y otras dos mujeres: Verónica y Elisa. El segundo relato, en cambio, narra la estadía de Chopin y George Sand en Mallorca. La pregunta que motiva la tesis es cuál es la función de este segundo relato que en una primera lectura podría parecer una digresión. A partir del análisis se propone que este segundo relato, aparentemente secundario, es fundamental en la novela porque en este se explica tanto la estructura de la novela como las motivaciones del protagonista (forma y fondo). Además, este relato no está aislado sino que, a través de los Nocturnos de Chopin, se manifiesta en el primero. Por ello, se propone como objetivo analizar la figura de Chopin en ambos relatos y conectar ambos a partir de las diversas anotaciones sobre los Nocturnos que se encuentran presentes en el primer relato. Para llevar a cabo el análisis se ha aplicado, principalmente, las concepciones sobre lo sagrado y lo profano de Mircea Eliade, el triángulo mimético de René Girard, concepciones sobre estética musical realizadas por Enrico Fubini, concepciones acerca del Romanticismo de Albert Béguin y las ideas acerca de la interpretación propuestas por Proust en su ensayo Contra Sainte-Beuve y Borges en su cuento Pierre Menard. El análisis de la novela se divide, entonces, en dos partes: por un lado, el análisis del primer relato; por otro lado, el análisis del segundo relato. La primera parte del análisis se centra en la estructura de la novela. Se propone que la estructura es circular debido a cómo se ordenan los capítulos como si estos fueran una serie de rituales. Por ello, el final no es propiamente un final, sino la repetición de las acciones narradas en la novela. Si bien esto hace referencia a la estructura general de la novela, la visión ritual se extiende al comportamiento del protagonista, quien estructura su existencia a partir de una división entre lo ritual y lo profano. Esta división se produce debido a su división entre código lingüístico y música. El lenguaje no es confiable, no permite la comunicación; en cambio, la música, si bien no tiene como objetivo comunicar (de acuerdo con Héctor), tiene un objetivo más importante: permite alcanzar el placer, trascender esta realidad para sumirse en otra. El héroe de Héctor es Chopin y es él quien a través de sus Nocturnos le muestra la existencia de esta otra realidad. Héctor imita, entonces, a Chopin, pero no solo a través de la ejecución de los Nocturnos, sino que el estudio de estos le permite encontrar una nueva sensibilidad, un modo similar de acceso a esta otra realidad: el erotismo. Pero el erotismo, si bien rito de la sexualidad, recibe un tratamiento diferente en esta novela. La amada de Héctor es la amada ideal: no habla y obedece. Además, los rituales eróticos que ellos mantienen están regidos por dos leyes: el silencio y la no consumación erótica. Héctor postula que la forma ideal de alcanzar el placer no reside en la consumación, momento en el que solo se trata de sexualidad, sino que el arte reside en aislar lo que verdaderamente vale la pena de la relación: el instante erótico, aquel separado de la sexualidad y del amor. Pero esta relación perfecta entra en crisis cuando Héctor se percata de su separación con lo cotidiano, aquello que considera profano y alejado de lo artístico; por ello, intenta entablar vínculos con este espacio. Esto lo intenta a partir de la relación con dos mujeres: Elisa y Verónica. Sin embargo, su visión ritual le impide concretar algún vínculo con ellas: por un lado, corrompe a Elisa, iniciándola en los rituales; por otro lado, intenta mantener una relación con Verónica, pero las leyes rituales impiden el vínculo entre ambos. Tanto Verónica como Elisa son mujeres reales: ambas hablan y ambas exigen la consumación erótica. Al final de la novela se produce una crisis cuando Héctor intente conciliar ambos espacios: lleva a Verónica a contemplar uno de los rituales con Blanca. El ritual se desestabiliza y revela el secreto de este: Blanca no existe, es un disfraz que cubre el cuerpo de Lázaro, el hermanastro menor de Héctor. Por otro lado, el análisis del segundo relato de la novela parte de la premisa de que, si bien es un aparente relato biográfico sobre Chopin, en realidad es un relato que busca responder los misterios detrás de la creación musical del compositor; además, el relato se divide en dos partes. La primera parte está narrada por Héctor, quien empleando la segunda persona justifica la división ritual y profana, y privilegia la primera como espacio de lo artístico por excelencia. La segunda parte está narrada en primera persona: Héctor asume la identidad de Chopin y aprovecha esta máscara para confesarse. Así, el aparente relato sincero sobre la perfección de la vida ritual (el primer relato) adquiere otros matices en los que se revela el miedo del protagonista frente a la vida que ha optado por elegir y, sobre todo, la pertinencia del arte en la sociedad. Héctor concluye que la música puede ser compartida por otros, pero que sus misterios permanecerán ocultos para el público. Sin embargo, pese a esta sentencia, invita a Verónica al ritual a presenciar los misterios de su vida, que se ha convertido en arte, pero Verónica rechaza lo que ve, ya que no se trata de arte, sino de la corrupción del otro. Las conclusiones a las que se ha llegado luego del análisis son básicamente las siguientes: la estructura formal de la novela depende de la relación que entabla Héctor con Chopin, ya que a partir de la figura del compositor se trazan los límites entre vida ritual y vida profana. Esta división de espacio depende también de las diferencias que Héctor establece entre música y lenguaje, si bien señala que la música es el medio adecuado para la trascendencia, él no compone música, sino que escribe para comunicar sus experiencias rituales. Así, poco a poco va utilizando el código lingüístico para manifestar sus temores respecto a la vida ritual; sin embargo, al final se retoma el silencio y la predominancia de la música sobre el lenguaje. Esta división entre música y lenguaje es la misma que se establece entre Blanca y Verónica y Elisa. La primera se constituye en la representante por excelencia de lo sagrado, mientras que las dos primeras son las representantes de lo profano. Si bien Héctor intenta encontrar un punto medio que reconcilie ambos espacios, tiene que optar por alguno de ellos cuando se produce la crisis ritual. Su decisión final involucra también la visión de arte por la que opta: los misterios del arte deben permanecer ocultos al público. Si bien esto es aplicable para el arte en general, se debe recordar que el arte que crea Héctor se basa en la corrupción del otro. / Tesis

My diploma work is an analyzation of a cooperation between the DOP and a director.

The thesis deals with the cooperation between the director and actor during individual phases of the staging process as they appear in everyday theatre life. The indiviual phases of the staging process are supplemented by the author's own experience with managing the actors, which she gained especially in the course of her studies at the Drama Faculty of AMU. The second part of the thesis investigates the issues of inner truthfulness and the possibilities of its achievement within the production of a play. As a part of collecting the material for the thesis, the author conducted a research, which included interviews with three professional directors - Hana Burešová, Ladislav Smoček and Štěpán Pácl, whose methods of work are described. In the final part of the thesis the author states that it is difficult to draw general conclusions about the cooperation between the director and actor because it is always of subjective nature. The issue of inner truthfulness is similarly difficult to generalise. Due to the multiplicity of options, however, neither of them loses attractiveness for further research.

A prospecção biológica (i.e. bioprospecção) é uma atividade, relativamente recente, que ocorre de forma desregulada na região austral, área de vigência do Sistema do Tratado da Antártida (STA). A normatização desta atividade no âmbito do STA é o principal tema em discussão na agenda do Regime Antártico. Este Regime Internacional, constituído pelo Tratado Antártico (de 1959), pela Convenção para Preservação das Focas Antárticas (de 1972), pela Convenção para Conservação dos Recursos Vivos Marinhos Antárticos (de 1980) e pelo Protocolo de Proteção Ambiental do Tratado da Antártida (de 1991), tem cumprido, ao longo de sua história, a missão de preservar a região austral e ordenar as atividades antárticas. Os Estados que o integram, enfrentam os novos desafios, criando instrumentos jurídicos para regulamentar atividades específicas. Todavia, eles encontram dificuldades de repetir este comportamento com relação à bioprospeccão. A razão disso é a complexidade desta atividade, associada à problemática da região austral, uma área sem soberanias reconhecidas. Existe imensa dificuldade de desenvolver uma legislação para contemplar diferentes interesses nacionais, disputas entre empresas e organizações ambientalistas, razões de ordem comercial e desacordos entre os interesses de pesquisa científica e do mercado, respeitando as normas e os princípios formalizados no Tratado Antártico. A bioprospecção na Antártida é um problema cuja solução, provavelmente, demandará longas e difíceis negociações. / Biological prospecting (i.e. bioprospecting) is a relatively recent activity that occurs unregulated in the austral region, area covered by the Antarctic Treaty System (ATS). The normatization of this activity is the main subject being discussed in the agenda of the Antarctic Regime. This International Regime, comprised by the Antarctic Treaty (1959), the Convention on the Conservation of Antarctic Seals (1972), the Convention on the Conservation of Antarctic Marine Living Resources (1980) and the Madrid Protocol to the Antarctic Treaty (1991), fulfills the mission to preserve the austral region and regulate international relations with respect to Antarctica. The nation-states, participants in this regime, have a tendency to face new challenges, by creating aditional agreements to regulate specific activities. Bioprospecting, however, has proven dificult to regulate. This is due to the complexity of the activity and the ambiguous territorial status of Antarctica. It is dificult to develop legislation that satifies interests of nation-states, private companies, environmental NGO’s, scientists and universities, while respecting norms and principles formalized in the Antarctic Treaty. Bioprospecting in Antarctica, therefore, is a problem that demands carefull and thoughtfull considerations, yet to be resolved.

Ce travail se penche sur la production fictionnelle de Lucia Miguel Pereira, critique littéraire brésilienne renommée et auteur d’ouvrages célèbres tels que: Prosa de ficção [Prose de fiction] ainsi que les biographies de Machado de Assis et de Gonçalves Dias. Ce nonobstant, sa création n’a pas obtenu le même intérêt critique que sa production historiographique, essayistique et biographique. L’étude procède à une analyse de l’oeuvre fictionnelle de l’auteur en mettant l’accent sur les romans Maria Luísa (1933), Em surdina [En sourdine] (1933), Amanhecer [Aube] (1938) et Cabra-cega [Cache-cache] (1954). L’objectif est de dévoiler leurs caractéristiques et de situer l’auteur dans l’ensemble de la production fictionnelle brésilienne de l’époque (en particulier des années 1930). Le travail évoque sa trajectoire intellectuelle et distingue ses principales prises de position critiques, de nature esthétique et politique, depuis la lecture de sa production intellectuelle; partant de là, les oeuvres fictionnelles sont analysées sur la base des conceptions de la romancière et des fondements théoriques du récit, dont le roman d’introspection et le roman de formation (Bildungsroman). La recherche promeut une vision d’ensemble de sa production, aussi bien critique que fictionnelle, en reprenant certaines de ses prises de positions. D’autre part, elle vise à caractériser sa production narrative en termes de proximité avec les présupposés du roman psychologique et du roman de formation, afin de jeter un nouveau regard sur la fiction produite par la romancière. / O trabalho tem como enfoque a produção ficcional de Lucia Miguel Pereira, figura de destaque entre os críticos literários brasileiros, principalmente pela autoria de textos célebres como a obra Prosa de ficção e as biografias de Machado de Assis e de Gonçalves Dias, mas que não obteve para sua criação o mesmo empenho crítico de sua produção historiográfica, ensaística e biográfica. O estudo analisa a obra ficcional de Lucia, principalmente os romances, Maria Luísa (1933), Em surdina (1933), Amanhecer (1938) e Cabra-cega (1954), procurando destacar suas características e situar a autora no conjunto da produção ficcional brasileira do período (principalmente da década de 30). O trabalho faz uma recuperação da trajetória intelectual de Lucia e destaca os seus principais posicionamentos críticos, de natureza estética e política, a partir da leitura de sua produção intelectual; com esse levantamento, são analisadas as obras ficcionais, tomando por base as concepções da autora e os fundamentos teóricos da narrativa, especialmente do romance de introspecção e do Bildungsroman. A pesquisa promove uma visão sobre o conjunto de sua produção, tanto crítica quanto ficcional, recuperando alguns de seus posicionamentos e caracterizando, especialmente, a produção narrativa da autora, no que tange à sua proximidade com os pressupostos do romance psicológico e do romance de formação, lançando um novo olhar para a ficção produzida por Lucia Miguel Pereira.