Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

The aim of this paper is to illuminate how the principles of the Alexander Technique and the role of bodily systems can serve as a foundational support for actor training. Inclusion of the Alexander Technique in the acting curriculum proves to be an effective tool for bridging the gap between kinesthetic learning and its application to beginning acting training. Starting with the nervous system, the operating principles of the Alexander Technique are discussed through research and personal insights. Next, in light of how self-discovery plays a key role in the first year of actor training, the idea of release in the neuromuscular system is explored as a way to support that process. Delving further into the actor’s process of character development, the efficient use of the skeletal system and the spine specifically is examined as the center of physical expression. Lastly, the breath and proper use of the respiratory system is discussed in relation to how it aids actors in making connected use of themselves. The outcome of this thesis through research, my personal journey as a teacher trainee of the Alexander Technique and observations and feedback though conducting workshops, elucidates the importance of creating harmony and release within the whole mechanism as a means of facilitating full expression, of mind, body and spirit, in the actor.

Thesis advisor: Boyd Taylor Coolman / Many vaunt the Summa halensis, conceived but not drafted entirely by Alexander of Hales, for its aesthetics. Few, however, read the text’s aesthetics theologically—as a teaching about God. This dissertation argues that Alexander’s aesthetics are deeply and inexorably theological. It takes as its keystone a passage in which Alexander identifies beauty with the “sacred order of the divine persons.” If beauty be a trinitarian structure instead of a divine attribute, then we should find beauty where we find Trinity. This dissertation trawls the massive Summa halensis for trinitarian beauty. And it finds beauty nearly everywhere. The result is a study of Alexander’s aesthetics that appreciates beauty beyond the constricted limits and categories of modern aesthetics. / Thesis (PhD) — Boston College, 2018. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

Investigar as relações filosóficas da lógica como instrumento segundo os antigos aristotélicos, até a época de Alexandre de Afrodísia, é o objeto principal de nosso trabalho. Ora, após avaliarmos criticamente algumas interpretações recentes, é ainda mais claro que uma lógica-instrumento não se encontra em Aristóteles. Como não pôde ter sido Aristóteles o primeiro a defender essa doutrina, nossa investigação se concentrou, então, num dos contextos mais significativos em que ela aparece, a saber, em uma polêmica com os estoicos; em contraste com os que defendiam que ela não era parte mas instrumento, estoicos argumentavam que a lógica é parte da filosofia, os quais argumentos nós analisamos aqui. É verdade, porém, que essas duas teses não são completamente contraditórias entre si, na medida em que, no período entre Aristóteles e Alexandre, há sinais de uma tese compatibilista, ou seja, de que a lógica seria considerada tanto parte quanto instrumento. Seja como for, nos debruçamos sobre as críticas dos aristotélicos contra uma lógica-parte, bem como sobre eventuais argumentos positivos dos peripatéticos, deixando claro o significado de uma determinada disciplina ser instrumento, órganon em grego. No aristotelismo antigo, disciplina-órganon implicava relações com o conceito de arquitetonicidade; segundo trechos de Aristóteles, objetos e, inclusive, técnicos de determinadas disciplinas podem ser utilizados como instrumentos por outras, mais arquitetônicas em relação às primeiras; daí peripatéticos posteriores denominarem as próprias disciplinas subordinadas de instrumentos; o conceito de disciplina instrumental, então, implica que ela contribui para a finalidade de sua superior. Com isso em mente, voltando-nos especificamente à lógica, Alexandre de Afrodísia considerava claramente que a lógica contribui para a contemplação, finalidade última do homem. / Our major aim here was to research the philosophical relations of logic as tool according to the ancient Aristotelians untill Alexander of Aphrodisias. After our critical assessments of recent interpretations, it is even clearer that Aristotle had not any idea of logic as tool. Since Aristotle could not have argued for such doctrine, our research focused on one of the most significative contexts in which it appears, namely, in a debate with the Stoics; contrary to the ones who said logic is no part, but an instrument of philosophy, the Stoics themselves sustained that logic is part of philosophy and we assessed their arguments for this. It is true that these two theses are not throughout contradictory between them, in so far as, in the period between Aristotle and Alexander, there are signals of a compatibilist thesis, i.e. that the logic had been regarded as part and tool. May as it be, the Aristotelians criticized the arguments for logic as part, which we analyzed, as well as some positive arguments of the Aristotelian school; accordingly, the meaning of some discipline as an instrument (in Greek organon) was clear. That means: a discipline-organon implied relations with the concept of architectonicity; for, according to texts of Aristotle, objects and even technicians of some disciplines could be used as tools by other more architectonic disciplines; that is why later Peripateticians named the subordinate disciplines themselves tools; the concept of instrumental discipline implies that it helps to the finality of its superior. That in mind, we could see the specific case of logic which, as at least Alexader of Aphrodisias clearly regarded, helps to the contemplation, the utmost finality of man.

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / Between the March 1917 revolution in Russia and the November 18 armistice with Germany, Britain's diplomatic and military activities in Russia had been determined by the war against Germany. During the period of the Provisional Government, the great effort had been to maintain the Eastern Front by keeping Russia actively in the war. From the Bolshevik Revolution of November 1917 to the Treaty of Brest-Litovsk in March 1918, this effort was continued. When it clearly had failed, military intervention was tried to keep Allied military stores from falling into German hands and to prevent Germany from exploiting Russia's resources and thereby prolonging the war. This military intervention, by force of circumstances, was carried out in cooperation with anti-Bolshevik Russian elements [TRUNCATED] / 2031-01-01

A study of the teaching career of British film director Alexander Mackendrick, who in 1969 became founding dean of the film school at the California Institute of the Arts.

This study considers the relationship between landscape and the Arcadian funereal imagination in the context of eighteenth century Britain, arguing that the Arcadian landscapes imagined by the British elite were instruments of rituals facilitating the reformation and transformation of socioeconomic, political, and moral structures of the British empire. Drawing upon texts and landscape practices, three case studies are examined: Alexander Pope’s (1688-1744) Twickenham grotto and his descriptive letter to Edward Blount; Sir William Chambers’ (1723-1796) Dissertation on oriental gardening and his design for Kew gardens, Sir John Soane’s (1753-1837) manuscript Crude hints towards an history of my house in LIF and his house-museum in Lincoln’s Inn Fields in London. The landscape itinerary of Pope’s Twickenham villa, in relation to his letter to Blount, suggests that it was structured analogous to the initiatory route of the Eleusinian mysteries as accounted in Pope’s translation of the Odyssey. Noting Pope’s engagement with Freemasonry, associated with the Opposition party, I suggest this implied Odyssean journey not only metaphorically anticipates the restitution of the Stuart dynasty and the reassertion of a political order founded upon aristocratic land ownership, but is also a means by which the ‘initiates’ contest the Enlightenment ideal of a mind of autonomy. In relation to the Burkean sublime, Chambers’ Dissertation, an imaginary travel narrative, is read as a city landscaping theory which aims to shape the morals of British citizens exposed to the erosion of commercial society. Whilst the scenes of luxury in the Chinese gardens imply a double effect of commercial society, the funereal imagery of ‘the surprising,’ built upon the Burkean sublime-effect, is intended as a cure of moral corruption associated with luxury. Stimulated by geological notions (e.g. stratigraphy and catastrophism), Soane’s ruinous text of Crude hints, a mirror of the house-museum as well as the earth, illustrates a parallel between the ‘first principles’ of the movement of the earth and that of the mind, i.e. imagination and signification. The funereal imagination in the text, which itself represents simultaneous creation and destruction, is revealed to be the architect’s construction of an ideal language that can express the being of the nation and the self. This thesis ends with a theoretical discussion of the role of the funereal imagination in eighteenth century landscape and architecture, i.e. how British imperial identity was forged, transmitted, negotiated, and reconstructed constantly within the temporally and spatially extended discursive realm of Arcadian mythology.

The Old Testament book of Ezekiel presents (in chapters 40 to 48) a landscape restoration plan after the destruction of Jerusalem. Objects, spatial elements, units, buildings, structures and landscapes are described and measured in the 'visions of God'. The hypothesis of my study is that spatial planning plays an important role in influencing landscape structures in a way that cities are made less vulnerable and more resilient to multi-hazard threats. In order to explore new ways of conceptualising this envisioned plan, I combine the methods of landscape architecture with a study of Hebrew literature. First, the concept of a 'Pattern Language', developed by the widely influential architect and design theorist Christopher Alexander, is used to re-categorize the spatial patterns evident in Ezekiel's vision. Patterns believed to be 'archetypal', deeply rooted in the nature of things and a part of human nature, are recognised. Secondly, in order to know which patterns are more significant, and how they are arranged, textual observation is conducted by choosing two words - 'behold' and 'measure' - as the indicators of the sequence of experience in the landscape. The result displays a thematic chiasm and a parallel structure. Landscape patterns including ENCIRCLING/ROUND ABOUT STRUCTURES, FOURFOLD MEASUREMENT, SQUARED SPACES and WATER FROM UNDERNEATH, play out scenes of awe and measurement in the landscape. With regard to the historical context of the landscape of Ezekiel 40-48, this thesis explores historical landscapes in the ancient Near East, and concludes that Ezekiel 40-48 demonstrates archetypal patterns that are shared with other cultures. However, archetypal patterns based on the nature of things and human nature should not be viewed as evidence of imitation or borrowing. Moreover, it is very likely that the ancient Israelite Iron Age town planning strategies serve as the basic concept of Ezekiel 40-48. Inspired by the Hebrew literary art that naturally forms corresponding themes, my research further argues that Ezekiel 40-48 can be understood as an ancient resilient landscape plan that encompasses rigidity and ductility, and two processes: resistance and recovery. Given the ancient hazards described in Ezekiel (the sword, famine, evil creatures, and pestilence), the mechanism of landscape resilience in Ezekiel 40-48 is similar to modern time ecosystem resilience, as well as disaster risk reduction, and epidemiology/public health of war and defence policy. Ezekiel 40-48 plans a self-sufficient city that is resistant to wars with its capacity to ensure food and water security. The riparian ecosystem provides medicinal resources with a life-giving river running through the land to strengthen the ability to recover. The thesis supports Greenberg's view that Ezekiel 40-48 fulfils the divine promises of 'the covenant of wellbeing' in Ezekiel 37.24b-28. In conclusion, this thesis develops a new theological way of reading Ezekiel 40-48 which prioritizes landscape. An understanding of the ancient planning in Ezekiel 40- 48 may shed light on our reading of the text and our way of viewing the visions, as well as our planning of the environment.

The areas of study in the Proof thesis contain research on the play, the playwright, and the acting style utilized in the performance and character analysis. The acting style in this process focuses on the actor’s creative work in preparation of portraying a female character. This character is a controlling woman that is unable to manipulate others. By using relaxation techniques involving the Alexander Technique, the actor was able to transition into the character with honest emotions and motives. Finding similarities to the character by using personal relationships gave the actor the ability to discover connections with the character in portrayal. These connections are used to motivate the actor’s process in creating an authentic character. The results are found through the actor’s reflections and performances. The findings show discipline and routine in the actor’s process to portray the character.

<p>Designmönster är beprövade och återanvändbara designlösningar på återkommande designproblem inom en viss kontext. Designmönster handlar om att inte behöva uppfinna hjulet om och om igen. Designmönster fångar lösningar och kunskap inom mjukvaruutveckling.</p><p>Vi har försökt beskriva och förstå hur IFS och Intentia tar sig an arbetet som omfattas i våra frågeställningar. Våra frågeställningar har varit hur designmönster kan hittas, dokumenteras</p><p>och katalogiseras samt hur designmönster kan spridas till medarbetare.</p><p>Vi har i denna undersökning anslutit oss till de tankegångar som finns inom hermeneutiken och vi har därför valt att använda oss av en kvalitativ metodteori, vars drag ligger mer åt det</p><p>hermeneutiska perspektivet. Vi har genomfört intervjuer med representanter från ovan nämnda företag.</p><p>Undersökningen har visat att bägge företagen har grupper med erfarna utvecklare som finner nya designmönster. IFS dokumenterar inte sina mönster medan Intentia gör det, men dock inte enligt någon standard. Dokumenten katalogiseras på ett intranät. IFS katalogiserar inte sina</p><p>mönster, men de kanske kommer att kategoriseras utifrån sin funktionella tillhörighet. Intentia kategoriserar sina designmönster utifrån vilken typ av designmönster det är fråga om. Varje</p><p>designmönster hör till en viss grupp av designmönster. De katalogiserar ett designmönster där liknande designmönster finns. När det gäller spridningen av designmönster till medarbetarna inom företagen så hävdar IFS att själva kunskapsöverföringen i deras utvecklingsmiljö. Intentia menar att de erfarna utvecklarna i gruppen som hittar nya mönster även är skickliga på att förmedla designmönster till andra utvecklare i organisationen.</p>