Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis--University of Wisconsin--Madison. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 241-248).

Thesis (M.A.)--Brigham Young University. Dept of English, 2006. / Includes bibliographical references (p. 85-87).

Thesis (M.A.)--Stony Brook University, 2008. / This official electronic copy is part of the DSpace Stony Brook theses & dissertations collection maintained by the University Libraries, Special Collections & University Archives on behalf of the Stony Brook Graduate School. It is stored in the SUNY Digital Institutional Repository and can be accessed through the website. Presented to the Stony Brook University Graduate School in partial fulfillment of the requirements for the degree of Master of Arts in Hispanic Languages and Literature; as recommended and accepted by the candidate's degree sponsor, the Dept. of Hispanic Languages and Literature. Includes bibliographical references (p. 92-94).

In the 1930s and 1940s, American atomic physicists developed an identity akin to those ethnic identities developed by Chicanos and African Americans in the 1960s. Tremendous successes in high-energy physics put these American physicists at the pinnacle of science worldwide. Luis W. Alvarez was one of the central figures in this rise, was central to the development of “Big Science,” and won the Nobel Prize in 1968. However, historians have largely ignored him. Through Alvarez we see that American atomic physicists before the 1930s lacked an identity. Alvarez witnessed the growth of his field and was an early advocate for an identity for American atomic physicists. Using identity politics as a theme, we find five stories centered on Alvarez that illustrate this emerging self-image. Alvarez’s autobiography demonstrates his interest in preserving the history of physics and establishing his place in it. A textbook draft that Alvarez abandoned in 1952 further illustrates his early interest in the history of physics then absent in physics textbooks and an early interest in mythology and heroes. Alvarez’s work outside of physics helps define the boundaries of this newly self-identifying group as he conquered fields like forensics and pyramidology, as well as famously proposing the theory that an asteroid killed the dinosaurs. A collection of letters from cranks helps us demarcate science from non-science and thus define the boundaries of science. Finally, Alvarez’s identity as a physicist is contrasted with another category of identity, his ethnic identity. Alvarez was a white man with a Hispanic name, which provides us with the rare case of a white man discussing his whiteness with would-be biographers who wanted to frame him as a “Chicano physicist.” Altogether, Alvarez would, much more than any physicist in his generation, promoted and exemplified an identity as an American atomic physicist while rejecting other identities. / text

Thesis (Ph. D.)--University of Wisconsin--Madison, 1973. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

SILVA, Pedro Henrique Cândido da. Eu através dos vestígios: subjetividade, memória e fragmento no projeto In dreams, de Luis Alvarez. 2016. 146f. - Dissertação (Mestrado) - Universidade Federal do Ceará, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2016. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-02-01T13:59:44Z No. of bitstreams: 1 2016_dis_phcsilva.pdf: 4627009 bytes, checksum: acfafd7066685cdad1a14a57b33ea2ea (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-02-01T14:00:26Z (GMT) No. of bitstreams: 1 2016_dis_phcsilva.pdf: 4627009 bytes, checksum: acfafd7066685cdad1a14a57b33ea2ea (MD5) / Made available in DSpace on 2017-02-01T14:00:26Z (GMT). No. of bitstreams: 1 2016_dis_phcsilva.pdf: 4627009 bytes, checksum: acfafd7066685cdad1a14a57b33ea2ea (MD5) Previous issue date: 2016 / This dissertation aims to reflect on the autobiographical character of In Dreams project, created by the Belgian artist Luis Alvarez. The project consists of black and white photographs, made over two decades of banal and everyday records, which were later organized in a type of timeline. In this process, the artist sets your memories in motion, building a mazy and fragmented narrative. Our intention is to investigate a certain biographical trace present there (De Man, 2012; Arfuch, 2010). And think about how the subject behind the apparatus inscribe himself in the images he produces (Foucault, 2004). Our hypothesis is that Alvarez inhabits these images not through his face reflected on the photographic surface, but as a kind of presence marked in absence. We crossed In dreams as if collecting clues, as if we opened doors, as if we put together a portrait through tracks and traces. Starting from Benjamin (2001) we guide our gaze towards a past that is not ours, but rises before us as constellation, through its debris.To that end, we reflect about the place, or rather the non-place where this work parts from, investigating contemporary thought which understands image not as limited to the visual field, but as a landscape made of crossings and dissonances (Agamben, 2009; Ranciére, 2012). It is in this border space that Didi-Huberman (2010) helps us to understand what posture is that which our gaze lets itself be affected by what we see, where the line between researcher and subject is so thin as to what separates dream from reality. In the search for this autobiographical subject, we investigated these images as bodies in motion, noticing the plurality of views and possible readings. However, we seek to give due attention to aspects of assembly and materiality of these images, not only as In dreams construction process, but as media produces thought. / Este trabalho busca refletir sobre o caráter autobiográfico do projeto In dreams, de autoria do artista Belga Luis Alvarez.O projeto é composto por fotografias preto e branco, feitas ao longo de duas décadas de registros cotidianos e banais, que posteriormente foram organizadas numa espécie de linha do tempo. Nesse processo, o artista põe suas memórias em movimento, construindo uma narrativa labiríntica e fragmentada. Nossa intenção aqui é investigar um certo traço biográfico (De Man, 2012; Arfuch, 2010) presente ali, bem como pensar de que forma o sujeito por trás do aparelho inscreve-se nas imagens que produz (Foucault, 2004). Nosso pressuposto é de que Alvarez habita essas imagens não por meio do seu rosto refletido sobre a superfície fotográfica, mas como uma espécie de presença marcada na ausência. Atravessamos In dreams como quem coleta pistas, como quem abre portas, como quem monta um retrato composto de rastros e vestígios. É a partir de Benjamin (2001) que guiamos nosso olhar em relação a um passado que não é nosso, mas que ascende diante de nós como constelação, por meio dos seus detritos. Com tal objetivo, refletimos sobre o lugar, ou melhor, o não-lugar de onde parte essa obra, dialogando com o pensamento contemporâneo que entende imagem não como campo limitado ao visual, mas como paisagem composta por atravessamentos e dissonâncias (Agamben, 2009; Ranciére, 2012). É nesse espaço de fronteira que Didi-Huberman (2010) nos ajuda a compreender que postura é essa em que nosso olhar se deixa afetar pelo que vê, em que a linha que separa pesquisador e objeto é tão tênue quanto a que separa o sonho da realidade. Na busca por esse sujeito autobiográfico, investigamos essas imagens como corpos em movimento, atentando para a pluralidade de olhares e de leituras possíveis. Além disso, buscamos dar devida atenção aos aspectos ligados à montagem e à materialidade dessas imagens, não apenas como processo de construção de In dreams, mas como meio de produção de pensamento.

Texte remanié de: Tesis doctoral--Universidad autónoma de Madrid. Titre de soutenance : Nacionalización y administración de los bienes de la Iglesia, 1835-1850. / Notes bibliogr. Bibliogr. p. 435-437.

abstract: Venezuelan maraca playing is largely unknown to musicians with Western Art Music backgrounds. While some composers utilize the instrument and its associated performance practices, the resources available to learn about the subject are limited and scattered. Through research, observations, and studying with correspondences, this document will explore the vastness of Venezuelan musical concepts and maraca techniques to seek out common goals and generate a resource that is accessible to musicians and musicologists. A large part of this research will focus on the Contemporary Music in the Western tradition that has been inspired by Venezuelan maraca playing. I will explain the context in which this music is commonly found and how to apply it to a contemporary setting. The individuals I interviewed span a variety of backgrounds and expertise. All have extensive experience in Venezuelan maraca traditions. Their individual points of view will give unique perspectives to help affix the music of the past to the creation of music in the future. The limited resources on this subject inhibit education, performance quality, new music, and further research. Ultimately, my document and recordings will provide imperative examples to help develop a greater understanding of an understudied Venezuelan art form. / Dissertation/Thesis / recording of Music for Botany / recording of Javier Alvarez's Temazcal / D.M.A. Music 2012

Na seguinte dissertação é desenvolvida uma aproximação à obra de Mario Roberto Álvarez parcializada em função de suas edificações de densidade em altura em Buenos Aires e limitada a um tipo de explicação projetual baseada na hipótese de que a produção desenvolvida por Álvarez, por sua extensão e transcendência, é capaz de aportar um conhecimento do projeto arquitetônico vital para entender o desenvolvimento da arquitetura moderna, sua relação com a cidade e sua vigência como uma arquitetura importante para o presente. O trabalho dedica as primeiras páginas ao desenvolvimento e exposição de uma metodologia de investigação do projeto e à apresentação do arquiteto em questão e sua obra dentro do contexto histórico e cultural em que se acha inserta. A partir do terceiro capítulo se estabelece uma seleção de suas obras mais significativas para esta aproximação, são analisadas uma por uma e se desenvolve uma reflexão teórica de caráter geral e relacional entre todas elas. Para o desenvolvimento da análise e das reflexões foi utilizado, como ferramenta de conhecimento, o próprio sistema de projeto, buscando estabelecer um conhecimento que surja a partir do diálogo permanente entre projeto e pensamento. Finalmente, o trabalho foi julgado como uma aproximação inicial a um campo de reflexão teórica do projeto, ligado à realidade da arquitetura moderna latinoamericana e, em particular, à experiência desenvolvida na Argentina. / In the following dissertation there is a development of an approach to Mario Roberto Álvarez' work partialized in relation to its buildings of density in height in Buenos Aires and delimited to an explanation from the projection point of view. This explanation is based on the hypothesis that the production developed by Álvarez, for its extension and transcendence, is capable of providing knowledge about the architectonic project, vital to understand the development of modern architecture, its relationship with the city and its validity as a major architecture for the present. The work dedicates its first pages to the development and statement of the project research methodology and to the introduction of the architect in question and his work within the historical and cultural context in which it is inserted. From the third chapter on, there is a selection of his most significant works for this approach, they are analyzed one by one and there is a development of a theoretical meditation of a general and a relational character, among all of them. For the analysis and meditation development, the knowledge tool used was the project system itself, looking for the setting up of knowledge arising from the permanent dialogue between project and thoughts. Finally, the work is assessed as an initial approach to a field of theoretical thought of the project connected to the reality of Latin American modern architecture and in particular, the experience developed in Argentina.