The problem with which this study was concerned was to identify employment status of the 1964-1971 industrial arts majors who graduated from the colleges and universities in Texas. Specifically this study analyzed the status of the following industrial arts graduates: those with and without teaching certificates, those in educational employment, those in industrial employment, those who had changed their employment from education to industrial or self-employment and vice versa, and those who returned to campus for further studies.

The unresolved nineteenth-century debate--"is rhetoric an art or a science?"--hashindered our attempt to establish an inclusive research paradigm for rhetoric and composition. The newly dominant paradigm is quickly narrowing to prefer the qualitative designs that suit our literary ideals, relieve our math and statistics anxiety, and fulfill political ideologies. Such qualitative work has given us great insight into the mind of the researcher, a stronger voice to the individual, and a powerful tool for groups traditionally oppressed by our field.At the same time, however, our field needs quantitative research that examines the scope of certain issues or that tests the effectiveness of solutions to problems, and we should remain prepared to understand such research from other fields. But the quantitative/qualitative division in composition cannot be healed through "methodological pluralism" or by examining the epistemologies governing those methodological choices.A Contextualist Theory of Epistemic Justification (Annis, 1978) provides a new lens through which we may recontextualize the competing epistemologies our field has outlined, providing a new decision-making framework through which we may appreciate the intersection of research issues (issue/question, purpose, method, and publication) and rhetorical issues (writer, audience, and subject) that form the varied contexts for our work: contexts highlighted in a matrix of questions representing a Contextualist Research Paradigm for Rhetoric and Composition.To illustrate such a paradigm, Eileen Oliver's (1995) "The Writing Quality of Seventh, Ninth, and Eleventh Graders, and College Freshmen: Does Rhetorical Specification in Writing Prompts Make a Difference?" is reprinted with an interview with Oliver, in which she detailed the context for her study. To further demonstrate a Contextualist Paradigm at work, my own study--"Red Ink / Blue Ink: Does it Really Make a Difference?"--responds to the largely untested anecdotal evidence that discourages writing teachers' use of red pens.A Contextualist Research Paradigm is necessary for composition to heal the artificial divisions between qualitative and quantitative research, to direct our attention fully to context rather than politics, form, and numbers, and to conduct not only the research we like, but also the research we and our students need. / Department of English

Thesis (M.A.)--University of Southern California, c2006. / "This thesis describes the development of a Web site, We dance with them: Pueblo Indian embroidery, which is based on the collection of embroidered textiles in the Indian Arts Research Center (IARC) in Santa Fe, New Mexico"--P. 1. "August 2006." Includes bibliographical references (p. 25).

The purpose of the research was to develop a translucent low fired porcelain casting slip using South African raw materials, due to the ever increasing electricity tariffs in South Africa as well as the physical deterioration put on the elements and brickwork in electric kilns when fired to traditional porcelain temperatures. Traditional porcelain bodies that can be purchased from South African suppliers are required to be fired to between 12000C and 13000C. The commercially prepared porcelains when tested produced white vitrified bodies but were lacking in translucency. Local ceramic artists are therefore compelled to import their porcelains from overseas suppliers if they require a white translucent porcelain but this is still requires a firing temperature well above 12000C. It has been shown that by using South African ceramic raw materials and adjusting a Parian ceramic formula using a selected frit; a low fired translucent porcelain can be made that matures below 12000C. The addition of paper fibres to the non-plastic porcelain was necessary to reduce the high shrinkage rate and prevented the clay from cracking and tearing in the firing process. With the further adjustments to the formula by the addition of calcium triphosphate true white translucent porcelain was produced. Without this last adjustment the porcelain would be an off-white colour due to the impurities found in the South African ceramic raw materials which are mainly contaminated with iron oxide. It was found that the following formula produced a white translucent porcelain which vitrified at 11900C and satisfies the original concept in the title stated above.

Thesis (M.A. (Drama))--University of the Witwatersrand, Faculty of Humanities, Wits School of Arts, 2016 / This report is the final piece of a performance as research project exploring what it means to be white and English-speaking at the southern tip of Africa. The report is coupled with an autobiographical one man play about myself. The play explores, through a series of monologues, what it means for me to be a white South African. It moves from the specifics of my life to more general assumptions about whiteness and back again. This report runs parallel to the play almost as an extension of it working in dialogue to explore complicity and identity. As an extension of the creative project I have chosen to negate traditional chapters and style for more poetic language intertwined with analytical thinking, which links into the style of the play. The idea behind this is that every world, be it, performance onstage or analytical report writing is merely a part of the continuum called life and by blurring the lines between these it is easier to fuse the learning and the living into a cohesive whole. The creative research shows how the rehearsal and performance process of theatre-making helps to strip away the deceptions that people tell themselves making them complicit in the injustice of post-apartheid white privilege but in doing this it also creates a space where people can feel safe to dialogue about this complicity. / GR2017

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation is the partial prerequisite of a Visual Arts research which investigates narrative possibilities on movements between two artistic languages, sculpture and comics. The text initially approaches the paths which led to this research: the emphasis on clay s materiality and on the action of chance on modeling and the theme of grotesque came from there. This research s main points are the use of sculptures as reference to a two-dimensional creation and of comics narrative resources to the three-dimensional creation. Through these experiences, theoretical reflections about narratives in art, about Deleuze s repetition and also about micro-narratives and communicational noise are shown. Finally, the present research is founded on works instauration processes, their procedures and adopted rules, and also through some of their thematic unfoldings and their insertions into editorial, academic and artistic contexts. / Esta dissertação é o pré-requisito parcial de uma pesquisa em Artes Visuais que investiga possibilidades narrativas de movimentos entre duas linguagens artísticas, a escultura e a história em quadrinhos. Neste texto são abordados inicialmente os caminhos que levaram a esta pesquisa: a valorização da materialidade da argila e a ação do acaso no modelado e a temática do grotesco surgida a partir daí. Como ponto central da pesquisa figuram o uso da escultura como referência para a criação bidimensional e de recursos narrativos dos quadrinhos para a produção tridimensional. A partir destas experiências, são apresentadas reflexões teóricas sobre questões de narratividade em arte, sobre a repetição segundo Deleuze e também sobre os conceitos de micronarrativas e ruído comunicacional. Finalmente, a presente pesquisa está fundada nos processos de instauração de obras, seus procedimentos, as regras adotadas, e ainda os seus desdobramentos temáticos e algumas inserções nos contextos editorial, acadêmico e artístico.

The East Cape Opera Company was founded by Gwyneth Lloyd in 1995 and has performed in various Eastern Cape venues and festivals as well as conducting a tour of the Netherlands. The Company has performed well known operas and operettas such as Mozart's The Magic Flute, Gilbert and Sullivan's The Mikado as well as their own original isiXhosa operas such as Temba and Seliba, The Moon Prince - Inkosana Yenyanga and The Clay Flute. This thesis is situated within the context of apartheid and post-apartheid, and an emerging post-1994 South African’s operatic culture that embraces multiculturalism. The aim of this research is to explore and raise awareness regarding intercultural communication in relation to isiXhosa operas and examine the linguistic and dramatic characteristics of the construction of these operas. This involves an analysis of the integration of African cultural practices (dramatic and musical) within an essentially western art form. The thesis makes use of intercultural and literary theory as a point of departure to analyse not only the literary qualities of the isiXhosa operas performed by the East Cape Opera Company, but it also seeks to show how these operas reflect an emerging intercultural reality within the South African context. The thesis explores the mixing of genres, including African genres such as the folktale and oral poetry as part of Opera, which has previously been seen as a Western domain. It is argued that this mixing of genres and languages allows for the success of African Opera

Indiana University-Purdue University Indianapolis (IUPUI) / Performing arts centers have been touted as a strategy for revitalizing downtowns by increasing activities that bring in residents with higher incomes, tourists, arts employees, educated workers, and housing. Despite their popularity, civic leaders have encountered complexity in these projects, from financial challenges, to delayed openings and operating deficits. Previous downtown studies examine public facilities, such as stadiums and cultural institutions, through essays, surveys, case studies, or by quantifying transactions exchanged between the public and the facility. This dissertation focuses solely on performing arts centers, excluding all other forms of public facilities and cultural venues, by examining self-collected data on literature-based characteristics of 218 downtowns with and without performing arts centers, all over a seven-year period of time. It was hypothesized that the presence of a performing arts center would contribute to increases in the values of all downtown revitalization characteristics, and community characteristics, as well as organizational attributes of the performing arts center itself (age, size, and revenue types) would in turn, increase the values of the overall health of the performing arts center. Through the use of multiple linear regressions, this research shows that performing arts centers can play a role in revitalizing downtowns. This research also shows that a single characteristic is not solely responsible for revitalizing downtowns; rather, the increased vitality results from a confluence of the characteristics. Endogeneity tests show that a performing arts center is less likely to enter a deserted downtown bereft of vitality. Instead, performing arts centers serve as harbingers of revitalization, confirming the presence of downtown vitality, before they proceed to activate vitality further. Finally, through the use of binary logistic regressions, community characteristics are identified in order to determine the conditions of downtowns that would be most equipped to open a performing arts center, as compared with downtowns that could not.

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