Submitted by Pedro Barros (pedro.silvabarros@ufpe.br) on 2018-09-04T19:22:45Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Izabella Maria da Silva Medeiros.pdf: 2698954 bytes, checksum: b6f39fd082d42ea330fa5fe8f4aee4d4 (MD5) / Approved for entry into archive by Alice Araujo (alice.caraujo@ufpe.br) on 2018-09-17T23:28:41Z (GMT) No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Izabella Maria da Silva Medeiros.pdf: 2698954 bytes, checksum: b6f39fd082d42ea330fa5fe8f4aee4d4 (MD5) / Made available in DSpace on 2018-09-17T23:28:41Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Izabella Maria da Silva Medeiros.pdf: 2698954 bytes, checksum: b6f39fd082d42ea330fa5fe8f4aee4d4 (MD5) Previous issue date: 2012-08-31 / CNPq / Este trabalho partiu do interesse em se investigar a possibilidade de tensionamento da arte com a vida num contexto brasileiro em que há um forte desejo de inserção social da arte, de se estabelecer novas formas de interação com o público e se construir novos modelos de experiência estética. Refiro-me ao período que teve como marco inicial a década de 1960, momento marcado por importantes mobilizações e reflexões em torno de e sobre as questões que envolviam o debate sobre cultura e arte no país. É um momento em que novas concepções de arte e cultura conquistam cada vez mais espaço e o desejo de uma arte que concilie os sentidos da experimentação e da participação surge como principal reinvindicação. Diante do cenário político em que o Brasil vivia então, havia um forte desejo de construir-se uma arte que se opusesse incisivamente aos valores autoritários do regime militar. Assim, os artistas procuraram construir um novo conceito de arte e de artista, capaz de desenvolver uma prática artística que se constituísse enquanto tal vinculando-se ao contexto da vida comum dos sujeitos. Tomando, então, a produção artística de Lygia Clark como objeto de estudo, meu objetivo foi investigar de que maneira ela elaborou um programa estético-artístico capaz de atingir as finalidades acima citadas. Marcada por um permanente questionamento da função da arte e do artista, Lygia Clark revolucionou a relação espectador-obra de arte e assumiu, acima de tudo, o ato estético como campo de experiência. Com a pesquisa sobre seu trabalho e, consequentemente, sobre a emergência da arte contemporânea no Brasil, é possível compreender que a arte não se reduz ao objeto e/ou à manifestação que redundam de sua prática. A arte é exatamente essa prática em sua totalidade, configurada como uma prática estética aberta à invenção e que, por isso mesmo, problematiza e transforma a realidade. Afirmo, desse modo, que o artista contemporâneo, ao deslocar-se de sua posição tradicional (distanciada do público) e procurar se inserir na matéria do mundo e da vida comum, demonstra como a arte é uma prática de problematização da vida cotidiana: processo de produção e (re)significação de sentidos e criação de mundos. / The present study set out from the interest in investigating the possibility of distending the relationship between art and life. This is set in a Brazilian background where there is an urge towards art's social insertion, the establishment of new forms of audience interaction and towards new models for esthetic experience. This refers to the period which has the decade of 1960 as milestone, being marked by important mobilizations and reflections revolving around the issues dealing with the country's art and culture debate. This is a period when new notions of art and culture gradually gain space and that, moreover, has as its central claim a desire for a form of art reconciling experience and participation. Given, in that time, Brazil's political background there was an urge towards constructing an art strongly opposed to the military regime's authoritarian values. In this way, artists attempted to construct new concepts of art and artist able to promote an artistic practice which, as such, would constitute itself bonded to the average individuals' life context. Drawing for this purpose on Lygia Clark's artistic production as study object, my objective was to investigate through which way she managed to develop an esthetic-artistic program able to achieve the goals mentioned above. Marked by a continuous inquiry on the function of art and artists, Lygia Clark revolutionized the expectator-work of art relationship and, most of all, incorporated the esthetic act as a field of experience. Through this research on her work and, consequently, on the emergence of contemporary art in Brazil it is possible to comprehend that art is not reduced to the object and/or the manifestation ensuing of its practice. Rather it is in itself this practice in its entirety and constituted as an esthetic practice open to creation which, for this reason, questions and changes reality. In this way, I attest that the contemporary artist by moving from her/his original position (distant from the audience) and attempting to become inserted in the matter of the world and average life demonstrates how art is a practice of questioning everyday life: a process of producing and (re)signifying senses and creations of worlds.

This study is a biography of the life experiences of Nathaniel Clark Smith (1877-1934), an African-American musician, music educator and composer who lived during the early part of America's music education's history. Smith became one of the first international bandmasters to organize bands, orchestras, and glee clubs in schools and industries in the United States. Smith was raised and attended school on a military post. He later received a B.S.M.A. from the Chicago Musical College and a Masters in Composition from the Sherwood School of Music. He taught music at five educational institutions: Tuskegee Institute, Western University, Lincoln, Wendell Phillips and Sumner High Schools. Some of his students became prominent musicians. They were Lionel Hampton, Nat "King" Cole, Milton Hinton, Bennie Moten and Charlie Parker. Smith also worked with industries. He conducted the newsboys band for the Chicago Defender Newspaper and he became the music supervisor for the porters of the Pullman Railroad Company. Smith was stated to have introduced the saxophone to African-Americans and he was considered as one of the first composers to notate spirituals. Smith published over fifty works in America. One of his compositions received a copyright from England. His Negro Folk Suite, published by the Lyon and Healy Publishing Company, was performed by the St. Louis Symphony Orchestra. It received a John Wanamaker Award. His Negro Choral Symphony received a copyright in 1934. Smith became co-owner of the first Music Publishing Company owned by African-Americans, the Smith Jubilee Music Company.

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This study presents a skeletal analysis of the burials from the Elrod (12CL 1) site. This site, excavated by E.Y. Guernsey in the 1930s, has exhibited extreme commingling and loss of context. The early date, before the implementation of archaeological standards, and lack of publication are the primary sources of commingling. An outline for dealing with commingling, as well as a demographic profile and overview of health, were created during this research. The Elrod site has been characterized as a Middle to Late Archaic shell midden, though literature and analyses presented here support a stratified excavation of the Elrod burials. The stature, dentition and pathology suggest that this series contains individuals from several temporal periods and is not confined to the Middle-Late Archaic. / Department of Anthropology

This thesis will analyze the work of Mr. Justice Tom C. Clark, in one field of law -- antitrust legislation. It is hoped to gain insight into the accomplishments and shortcomings of Mr. Justice Clark and to provide an appraisal of the Supreme Court's participation in the formulation of policy in the antitrust field.

Tom Clark has fulfilled a dual role in the development of the American legal system: He has served as a moderating influence, often arbitrating the differences between opposing factions on the Court; and, he has served as a figure of caution and restraint upon the members of the Court, developing a judicial philosophy which is deferential to other units of government.

Made available in DSpace on 2018-08-01T23:30:19Z (GMT). No. of bitstreams: 1 tese_11343_DarioIvanPedraza diserta.pdf: 14820701 bytes, checksum: cd8bc7839fe7837dd40b1804be8ac498 (MD5) Previous issue date: 2017-08-25 / Esta dissertação tem por objetivo trazer à tona uma reflexão sobre o conceito do vazio e algumas de suas diversas manifestações na arte contemporânea, tomando como base obras dos artistas Waltercio Caldas (Rio de Janeiro, 1946 -) e Gordon Matta-Clark (Nova Iorque, 1943 1978). Ambos problematizam os conceitos de espaço, vacuidade e plenitude, e utilizam práticas e estratégias de produção da obra nas quais se manifesta o sentido multimídia da arte contemporânea ao vincular os trabalhos deles com outras disciplinas como o design, a fotografia ou a arquitetura. O processo construtivo do trabalho, tanto de Caldas quanto de Matta-Clark, reflete possibilidades de que a partir do encontro com o espectador abrir-se o momento em que o vazio consegue sua potência poética. Palavras chave: Arte contemporânea, vazio, espaço, Gordon Matta-Clark, Waltercio Caldas.

Thesis (M.A.)--Trinity Evangelical Divinity School, 1997. / Abstract. Includes bibliographical references (leaves 114-138).

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No description available.