Thesis (Ph.D.) - University of Queensland, 2005. / Includes bibliography.

Thesis (Th. M.)--Regent College, 2004. / Abstract and vita. Includes bibliographical references (leaves 217-228).

Thesis (M.A.)--West Virginia University, 2006. / Title from document title page. Document formatted into pages; contains v, 56 p. Vita. Includes abstract. Includes bibliographical references (p. 39-43).

Project (D. Min.)--Iliff School of Theology, 2005. / Includes abstract. Includes bibliographical references (leaves [146-150]).

Thesis (M. Min.)--Calvary Theological Seminary, 1999. / "ʻăzāʹzēl" appears in Hebrew characters on t.p. Includes bibliographical references (leaves 53-56).

Project (D. Min.)--Iliff School of Theology, 2005. / Includes abstract. Includes bibliographical references (leaves [146-150]).

Inaug.-Diss.--Marburg. / Lebenslauf. "Literatur und Quellen": p. 84-87.

Orientador: Mauricius Martins Farina / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T03:31:45Z (GMT). No. of bitstreams: 1 Mann_OliverNieves_M.pdf: 11056919 bytes, checksum: 19c66149f908fb7bf4df87cd216944cc (MD5) Previous issue date: 2010 / Resumo: Villém Flússer propõe em seu texto Filosofia da Caixa Preta dois conceitos opostos que desafiam a autonomia criativa no fazer fotográfico. Se "funcionário" é operador do aparelho e age de acordo com programa pós-industrial revestido em seu interior, a figura do "fotógrafo" vem acrescentar uma possibilidade de subversão a esse programa. Esta capacidade demonstra-se então bem relativa pois é da natureza do aparelho servir-se da criatividade do fotógrafo criando novos programas que aumentarão as exigências do desvio. Haverá então repertório infinito para novas imagens? Esta pesquisa propõe apontar alguns paralelos entre uma fotografia na qual a documentalidade vinculada a um imaginário fortemente calcado no realismo perspectivista é marca aparente, e uma fotografia que procura finalmente transcender os programas impostos por esta visão aparelhística. Procurou-se exemplos desta problematização em obras heterogêneas como a de Rodtchencko, August Sander e Bernd & Hilla Becher, incluindo também, no último caso, as escolas fundadas a partir de suas metodologias de abordagem entre objeto e referente. Ponto capital na análise de cada obra é o domínio rigoroso da sintaxe fotográfica demonstrada por cada autor, mesmo que, o grau de contingencialidade prevaleça mais em uns que em outros. De forma dialógica, esta pesquisa ainda propõe apontar certos aspectos onde o domínio da programaticidade e da retilinearidade do aparelho escapa a raros estados em que a fotografia não mais se coloca como uma construção semântica codificada por elementos geométricos historicamente convencionados, mas como Barthes nos diz: como "uma força constativa", ao "isto é" e "isto foi", no qual o noema não parte do objeto, mas do tempo. Se este é o caminho para a renovação da fotografia a idéia da liberdade do fotógrafo adquire contornos diversos ao que foi apresentado por Flússer. Concomitante à revisão da literatura, a outra metade do desenvolvimento desta pesquisa compreende um exercício de construção fotográfica em forma de tipologias com móveis domésticos descartados no ambiente urbano, Esta proposta prática é indissociável aos conceitos teóricos aqui propostos / Abstract: Villem Flusser suggested in his text "Towards a Philosophy of Photography" two opposite ideas which challenge the creative autonomy in making photography. If the "worker" is the "operator" of the apparatus and act according to the postindustrial program inward cover, the "photographer" come to add more subversive possibilities to the program. This capacity then demonstrate relativity for it's the apparatus nature to serve the creativity of the photographer creating new programs which adds the demand of diversion. Then there will be a repertory of infinite new image? The proposal of this research is to show some parallels between the photography in which a imaginary documental links strongly - stepped on realistic perspective which is the aparent mark, a photography which search firmly to beyound of its program impose for this visual apparatus. Looking after example of this question in heterogeneous work, like Rodtchencko, August Sander and Bernd & Hilla Becher, which includes also in the last case, the school founded, starting on its methodic approach between object and reference. The analitical highpoint in each work is the rigorous dominion of the photographic sintax demonstrated by each author inspite the degree of contingency that prevails, mor or less at each others. The dialogical form of this research again, suggest certain aspects where dominion of programaticity and the retilianerity of the apparatus escape to rare moments in which photography doesn't set like a semantic construction codified by geometrical elements historically agreed, but as Barthes have said, "confirmed force", a "that is" / "that was" in which perception (noema) don't start from the object, but from time. If this is the way of the photographic renovation, the idea of the emancipation of the photographer acquires diverse configuration which on presented by Flússer. Together with the literary revision, the other half of the development understand the practice of the photographic construction in the tipological form with cast-off household furniture in the urban environment. This practical proposal is unseparable with the theorical ideas as propose / Mestrado / Artes Visuais / Mestre em Artes

This thesis provides a detailed study of the semantics, grammar, and pragmatics of positional verbs from a typological perspective in Gurenɛ, a Gur (Niger-Congo) language spoken in Northern Ghana. The study documents and describes Gurenɛ positional verbs in detail focusing on a set of over thirty contrastive positional verbs using a documentary corpus of natural and stimuli-based elicited data. “Positional verbs” is used in this study as a cover term that refers to a class of verbs that semantically encode the static assumed body posture or position of animate entities (humans and animals) or the static location of inanimates (objects) in space. The study discusses the Gurenɛ data in the context of recent cross-linguistic studies on posture, positional and locative verbs (Newman 2002a; Levinson & Wilkins 2006a, Ameka & Levinson 2007a) which suggest that some languages employ verbs rather than adpositions to describe locations. It compares the Gurenɛ data to these typological studies to establish the similarities and the differences of the semantics of these verbs. Like other languages observed in these studies, the use of verbs in the Gurenɛ locative construction is obligatory and the verbs constitute the main linguistic means that the speakers use for locative descriptions. The thesis further explores in part, the basic locative construction (BLC) typology of Levinson & Wilkins (2006a) and Ameka & Levinson (2007a). The BLC typology is concerned with the use of verbs in languages to express spatial locative information with the claim that languages can be classified into four main types according to the number and types of verbs used in their BLC; Type 0 (no verb), Type I (one locative verb or a copula), Type II (three to seven postural verbs), and Type III (seven to +100 positional verbs). In Gurenɛ over thirty verbs are identified that can be used in its BLC. As a result, Gurenɛ is classified as a Type III language. Like any other Type III language, as predicted by the BLC typology, the language uses its verbs to describe a wide range of precise semantic notions involving different locative relations between the Figure and the Ground such as body position, elevation, attachment, containment, distribution, and relative distance. The findings among others suggest that in a locative scene where the Ground is elevated more specific verbs of elevation with very precise meanings associated with the Figure’s properties which include stable base support, shape, and position are used. Additionally, the Ground elevation disregards the actual posture of the Figure. Thus, if a speaker observes a Figure on the ground (earth or floor level) the actual posture verb is used, but if the Figure is on an elevated Ground (e.g., a tabletop, a rooftop) the actual posture is disregarded. This “elevation” phenomenon has not been fully discussed in the cross-linguistic studies of the positional and locative verbs in the semantic literature. The Gurenɛ data make a contribution toward clarification of the range and type of distinctions to be accounted for in the semantic typology of the use of these verbs in locative descriptions.

“Building processes seem best evoked in terms of various forms of endemic uncertainty which, in turn, define an essentially turbulent industrial environment. The pursuit of stability is re-interpreted as ‘unstable equilibrium’ in building processes, requiring constant feedback to maintain control.” (Groak, 1992) The process of addressing a troubled spatial legacy within the context of South Africa has presented a challenging atmosphere regarding the preservation or reprogramming of urban and architectural space. This becomes a prevalent issue when considering critical urban regions such as Westbury in Johannesburg, where the social and built environment remain in a constant struggle for identity and defensibility. The need to address this reformation of urban space as well as urban programme has lead this dissertation to question the manifestation of social processes in spatial form. This dissertation hopes to propose a system of architecture and supporting infrastructure that will address existing spatial legacy, through responding to social and contextual issues; leading to a new platform for the sustainable progression of social activity and identity in the form of urban densification. / Mini Dissertation (MArch(Prof)) --University of Pretoria, 2018. / Architecture / MArch(Prof) / Unrestricted