Thesis (Ph.D.)--Boston University / The political thinking of George Bernard Shaw was both a logical extension of and an attack on classical liberalism, for he took the seed of equality planted by Locke and extended it to economics. He agreed with the Idealists, Bradley and Bosanquet, that the state must concern itself with the interests of all the people, and with T. H. Green especially, that it must have a moral foundation. He accepted the idea of an inherent impulse in man from the utilitarians but gave it a wider base, under the influence of Lamarck and Butler, and called it the Life Force. Henry George revealed the importance of economic justice; Marx, the extent of the evils of Capitalism; Jevons and Wicksteed, the utility theory of value; Bentham, the duties of government to provide security for all; Mill, the ways in which competition might be restricted. Thus the various parts of Shaw's writings were not original, but he evolved a unique system out of these parts, overlooking no aspect of life. The rationality of the Fabians attracted Shaw. He went beyond the Fabians in an attempt to improve not only institutions but also man's nature--a difficult task, since each was dependent on the other. In the prewar years, Shaw based his hopes for success on the rationality of Socialism, although his doctrine always contained seeds of totalitarianism. World War I and the accomplishments of dictators led him away from Fabianism to ideas of force. World War II brought more critical attitudes toward authoritarian power [TRUNCATED].

Bernard Rudofsky é conhecido sobretudo em função da exposição Architecture Without Architects, que organiza no MaMA de Nova Iorque em 1964. Mais além desta "Arquitetura sem Arquitetos", Rudofsky possui uma ampla obra desenvolvida ao longo de uma vida itinerante, repleta de viagens e de experiências em primeira pessoa com culturas do mundo inteiro, mas ainda em grande parte desconhecida, sobretudo no Brasil. Seus interesses vão desde a evolução das peças de vestuário e sua relação com o corpo humano; passando pelos ideais que conformam e são conformados pelo ambiente doméstico; até os elementos que qualificam e dignificam os espaços urbanos desde a antiguidade até os dias de hoje. Transcendendo a discussão usual de aspectos estilísticos, Rudofsky interessava-se em difundir um certo estilo de vida, uma maneira de enxergar o mundo que fosse coerente com o andar da história, que não esquecesse o passado e que enfrentasse os problemas do presente e do futuro com a serenidade da experiência e do bom senso. Em uma análise provocativa a respeito das origens e da evolução- tanto ao longo do tempo, como ao redor do mundo- de temas domésticos como a maneira de comer, sentar, dormir, banhar-se, etc., Rudofsky busca educar tanto arquitetos quanto o público em geral, para que estes encarassem suas realidades supostamente avançadas desde um ponto de vista modesto, simples e frugaL Comer com as mãos ao invés de com talheres, sentar-se diretamente no chão ao invés de em cadeiras, dormir em um tatame ao invés de sobre uma cama, banhar-se em grupo e de forma gregária, enfim, estas são algumas das alternativas apontadas por Rudofsky como primárias e supostamente "obsoletas", mas que ainda hoje poderiam oferecer uma nova forma de encarar os impactos das forças modernizadoras sobre os corpos e sobre a arquitetura. O objetivo principal deste trabalho é explorar o conteúdo de três dos livros publicados por Bernard Rudofsky - Behind the Picture Window, de 1955; Now I Lay Me Down to Eat, de 1980; e Sparta/ Sybaris, de 1987 - que tratam destes aspectos considerados por ele como "essenciais" para a questão do habitar, e comunicálos como forma de contribuir para as reflexões contemporâneas a respeito da vida doméstica e da arquitetura como um todo, em especial a que se refere à habitação. / Bernard Rudofsky is best known for the exhibition "Architecture Without Architects", which he organizes at Mo MA in N ew Y ork in 1964. Beyond this, Rudofsky has a vast body o f work developed during an itinerant life, filled with travelling and first-person experiences with cultures from ali over the world, but stilllargely unknown, especially in Brazil. His interests ranged from the evolution of apparel and their relation to the human body; passing through the ideais that conform and are conformed by the domestic environment; to the elements that qualifY and dignifY urban spaces from antiquity to the present day. Transcending the usual discussion of stylistic aspects, Rudofsky was interested in spreading a cenain way o f life, a way o f seeing the world that was consistent with the course o f history, not forgetting the past and facing the problems o f the present and the future with the serenity o f experience and common sense. In a provoca tive analysis o f the origins and evolution - both over time and around the world - of domestic themes such as eating, sitting, sleeping, bathing, etc., Rudofsky seeks to educare both architects and the general public, so that they would face their supposedly advanced realities from a modest, simple and frugal point o f view. Eating with your hands instead of using cutlery, sitting directly on the floor instead of on chairs, sleeping on a futon rather than on a bed, bathing in a group and gregariously, these were some o f the alternatives pointed out by Rudofsky as primary and supposedly "obsolete", but which could still today offer a new way oflooking at the impacts of modernizing forces on both the human body and architecture. The main objective of this work is to explore the contents o f three of the books published by Bernard Rudofsky- "Behind the Picture Window", 1955; "Now I Lay Me Down to Eat", 1980; And "Sparta I Sybaris", 1987- which deal with these aspects considered by him as "essential" to the question of dwelling, and to communicate them as a way of contributing to contemporary reflections regarding domestic life and architecture as a whole, but specially housing.

Bernard Rudofsky é conhecido sobretudo em função da exposição Architecture Without Architects, que organiza no MaMA de Nova Iorque em 1964. Mais além desta "Arquitetura sem Arquitetos", Rudofsky possui uma ampla obra desenvolvida ao longo de uma vida itinerante, repleta de viagens e de experiências em primeira pessoa com culturas do mundo inteiro, mas ainda em grande parte desconhecida, sobretudo no Brasil. Seus interesses vão desde a evolução das peças de vestuário e sua relação com o corpo humano; passando pelos ideais que conformam e são conformados pelo ambiente doméstico; até os elementos que qualificam e dignificam os espaços urbanos desde a antiguidade até os dias de hoje. Transcendendo a discussão usual de aspectos estilísticos, Rudofsky interessava-se em difundir um certo estilo de vida, uma maneira de enxergar o mundo que fosse coerente com o andar da história, que não esquecesse o passado e que enfrentasse os problemas do presente e do futuro com a serenidade da experiência e do bom senso. Em uma análise provocativa a respeito das origens e da evolução- tanto ao longo do tempo, como ao redor do mundo- de temas domésticos como a maneira de comer, sentar, dormir, banhar-se, etc., Rudofsky busca educar tanto arquitetos quanto o público em geral, para que estes encarassem suas realidades supostamente avançadas desde um ponto de vista modesto, simples e frugaL Comer com as mãos ao invés de com talheres, sentar-se diretamente no chão ao invés de em cadeiras, dormir em um tatame ao invés de sobre uma cama, banhar-se em grupo e de forma gregária, enfim, estas são algumas das alternativas apontadas por Rudofsky como primárias e supostamente "obsoletas", mas que ainda hoje poderiam oferecer uma nova forma de encarar os impactos das forças modernizadoras sobre os corpos e sobre a arquitetura. O objetivo principal deste trabalho é explorar o conteúdo de três dos livros publicados por Bernard Rudofsky - Behind the Picture Window, de 1955; Now I Lay Me Down to Eat, de 1980; e Sparta/ Sybaris, de 1987 - que tratam destes aspectos considerados por ele como "essenciais" para a questão do habitar, e comunicálos como forma de contribuir para as reflexões contemporâneas a respeito da vida doméstica e da arquitetura como um todo, em especial a que se refere à habitação. / Bernard Rudofsky is best known for the exhibition "Architecture Without Architects", which he organizes at Mo MA in N ew Y ork in 1964. Beyond this, Rudofsky has a vast body o f work developed during an itinerant life, filled with travelling and first-person experiences with cultures from ali over the world, but stilllargely unknown, especially in Brazil. His interests ranged from the evolution of apparel and their relation to the human body; passing through the ideais that conform and are conformed by the domestic environment; to the elements that qualifY and dignifY urban spaces from antiquity to the present day. Transcending the usual discussion of stylistic aspects, Rudofsky was interested in spreading a cenain way o f life, a way o f seeing the world that was consistent with the course o f history, not forgetting the past and facing the problems o f the present and the future with the serenity o f experience and common sense. In a provoca tive analysis o f the origins and evolution - both over time and around the world - of domestic themes such as eating, sitting, sleeping, bathing, etc., Rudofsky seeks to educare both architects and the general public, so that they would face their supposedly advanced realities from a modest, simple and frugal point o f view. Eating with your hands instead of using cutlery, sitting directly on the floor instead of on chairs, sleeping on a futon rather than on a bed, bathing in a group and gregariously, these were some o f the alternatives pointed out by Rudofsky as primary and supposedly "obsolete", but which could still today offer a new way oflooking at the impacts of modernizing forces on both the human body and architecture. The main objective of this work is to explore the contents o f three of the books published by Bernard Rudofsky- "Behind the Picture Window", 1955; "Now I Lay Me Down to Eat", 1980; And "Sparta I Sybaris", 1987- which deal with these aspects considered by him as "essential" to the question of dwelling, and to communicate them as a way of contributing to contemporary reflections regarding domestic life and architecture as a whole, but specially housing.

The purpose of this study is to establish the thesis that Shaw, the noted iconoclast, was actually much influenced by nineteenth-century theatrical conventions, and that his use of hackneyed forms as bases for satire and subjects for revitalization was often not wholly successful, especially in his earlier plays, because formal conventions tended to confine and constrict the fresh themes he was attempting to develop in the old stage material. The Introduction summarizes and argues against lingering critical attitudes toward Shaw which imply that he was not a playwright but an author of stage debates, and that he should therefore be held exempt from the type of criticism accorded dramatists' in the 'tradition'. Chapter One is a brief critical survey of plays current in London in the Nineties and the English and continental forebears of these plays, and includes some discussion of Shaw's campaign against the 'old' drama, his opinion of the pseudo-realist 'new' dramatists, and the differences between his aims and techniques and those of the post-Ibsen, post-Shavian playwrights. Chapter Two deals with Shaw's first play, Widowers' Houses, and two other sociological plays the relatively early Mrs. Warren's Profession and a play of Shaw's maturity, Major Barbara. These three plays demonstrate Shaw's progress from mere inversion of stock sentimental romance to more positive treatments of initially orthodox situations. Chapter Three is concerned with Shavian transformation of conventional melodrama and men of action and discusses the conflict between orthodox techniques and devices and Shavian ideas in the 'hero' plays. Chapter Four deals with two exceedingly popular plays -- Candida and Man and Superman -- in which Shaw developed his views on the Life Force and the relationships between the sexes. Like Chapter Two, this chapter seeks to prove that Shaw exhibited growing skill in adapting popular stage subjects to his own purposes while sustaining interest and comedy in the eternal conflict he perceived between vitality and system. In Chapter Five, two semi-tragic plays, Heartbreak House and Saint Joan, are discussed as the final steps in Shaw's movement toward achieving harmony of story and theme. Heartbreak House, a disquisitory, symbolic drama, is an improvement upon earlier, less unified discussion plays, and Saint Joan combines the elements of philosophical discussion and powerful story in a play that undoubtedly benefits from the poignancy and melodrama of the legend on which it is based, but is also a triumphant blend of the traditional elements of drama and qualities uniquely Shavian. The chapter and the thesis close with a short comment on Shaw's contribution to modern drama. / Arts, Faculty of / English, Department of / Graduate

The political extravaganzas dominate Shavian drama of the 1930's, Shaw's last really productive decade. They form a fairly large and coherent group, but their topicality and their abstract, seemingly non-dramatic techniques have prevented most critics from examining the plays on their own merits. This thesis attempts to show how Shaw, in his political plays, not only chronicles his very close involvement with the urgent social problems of the interwar years, but also how he develops special artistic devices to embody his themes. Shaw's political plays offer a continual flow of analysis and criticism of an age which he thought was heading for disaster and war. In Too True to be Good (1931); he analyzes modern man's sense of directionlessness and indicates that he must re-evaluate his aims and goals, his morality and economics, and discard worn out values which no longer describe either human nature or contemporary problems. This play introduces a theme which prevails in all Shaw's political extravaganzas of the period: that men must overcome their limited frames of reference and must cultivate an open-mindedness in their search for meaning and direction in a complex world. In On the Rocks (1933), he investigates governmental problems In England and implies that in a world of selfish insularity, democratic government founders, needing more than ever a strong leader to impose a direction on the country. Recognizing the sinister implications of even an interim dictatorship, Shaw is almost driven to despair. In The Simpleton of the Unexpected Isles (1934), Shaw retreats from the ugly and almost insoluble problems of the immediate world, to define and examine in abstract and symbolic terms the problems dis-cussed in the earlier plays. Shaw reaffirms his faith in the Life Force, again stresses that life-will continue to evolve, and asserts that if man wants to be the vanguard of evolution he must be able to adapt to the unexpected . Having expressed his ultimate thoughts and allegiances in The Simpleton, Shaw seemed to abandon his concern "with political problems in his plays, until the urgency of world developments in the late thirties brought the preacher in Shaw to the pulpit of the stage again in Geneva (1938). But in this play Shaw's inability to maintain an aesthetic distance from world events interfered with his artistry so that he produced a play lacking the unity of theme and structure found in the earlier plays of the period. But while the political plays of the thirties chronicle Shaw's very close involvement with complex social problems, they also reveal Shaw's attempt to develop special dramatic techniques to render an artistic expression of his thoughts. The seemingly chaotic structures, weak characters, and garrulous speeches really are in many ways well suited to the topical themes. Shaw utilizes a symposium type of discussion, which is appropriate for the searching for direction, the open investigation of all aspects of a complex problem. But perhaps the most characteristic and least understood technique in these plays is Shaw's use of structure as a major thematic device. Once understood, the seemingly random structures are not evidence of "imitative fallacy", of using negative techniques to express negative themes, hut of an artistic handling of technique to enhance thematic comment on the chaos. In the best of Shaw's political plays there is a well integrated mating of theme and structure which belies any idea that these plays are the products of a man in his dotage. / Arts, Faculty of / English, Department of / Graduate

Thesis (M.A.)--Youngstown State University, 2009. / Includes bibliographical references (leaves 137-140). Also available via the World Wide Web in PDF format.

Thèse--Lettres--Paris I, 1979. / Bibliogr. des œuvres de B. Mandeville p. 881-904 . Bibliogr. p. 904-922 . Index.

Proefschrift--Groningen. / "Stellingen" (2 leaves) laid in. "Addenda et corrigenda" slip laid in. Includes bibliographical references.

Thesis advisor: Patrick H. Byrne / In this dissertation, I attempt to contribute to Lonergan scholarship by bringing greater clarity to his notions of general and group bias. By applying these notions to a concrete event, the subprime mortgage crisis, I intend to shed light on their meaning and significance in a new way. Over the course of this dissertation, I will investigate and employ other theoretical tools that Lonergan provides, such as his notions of transcendental method, self-appropriation, common sense, and values, and especially the destructive impact of group and general bias upon the good of order. The theoretical ideas that are examined in this dissertation have a heuristic value, for they have the potential to help individuals notice areas and respond to issues that might have otherwise been overlooked. The subprime mortgage crisis, which arguably began when American house prices dropped in July of 2006, was the product of an accumulation of biased decisions over time. Lonergan's notion of the general bias of common sense afflicted many of the central parties involved in the subprime mortgage market leading up to the crisis, prompting them to conclude that house prices would interminably rise. Institutional relationships that were impaired by this biased orientation toward the housing market came to be further plagued by Lonergan's notion of group bias. Ultimately, I argue that subprime mortgage crisis was a manifestation of a breakdown in the good of order, which is a component of Lonergan's notion of the invariant structure of the human good. Chapter One consists of a presentation and explication of the set of Lonergan's theoretical tools that are utilized in this study. The chapter begins with an exploration of his transcendental method and then proceeds with a discussion that includes his notions of cognitional structure, self-appropriation, common sense, values and judgments of value, conversion, self-transcendence, authenticity, bias, and the invariant structure of the human good. Chapter Two serves a bridge between these theoretical terms and my analysis of the parties that were involved in the subprime mortgage crisis. In addition to arguing that the general bias of common sense distorted the decision making processes of many of the significant players in the subprime mortgage market, I will also contend that group bias was operative leading up to and during this crisis. The emphasis in this latter section will be on instances of "co-opted" group bias, or arrangements in which different parties cooperated with one another in mutually advantageous ways in the short-term, but to the detriment of the good of order. Chapters Three through Six each focus on one of the parties that played an instrumental role in the development and outbreak of the subprime mortgage crisis: subprime lenders (Chapter Three), arrangers (Chapter Four), credit rating agencies (Chapter Five), and Fannie Mae and Freddie Mac (Chapter Six). I examine key regulatory relationships in these chapters as well and note that, in many cases, they were ensnared by general and group bias. My concluding analysis is that, as an accumulation of biased decisions, the subprime mortgage crisis was an avoidable outcome, for individual submission to bias is not inevitable. / Thesis (PhD) — Boston College, 2012. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Philosophy.

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