Orientador: José Leonardo do Nascimento / Banca: Neide Antônia Marcondes Faria / Banca: Oscar Alejandro F. D'Ambrosio / Resumo: A artista plástica Adriana Varejão, está entre as mais bem-sucedidas do circuito mundial. É atualmente uma das artistas brasileiras de mais destaque na cena contemporânea, no Brasil e também no exterior. O espaço de representação pictórica proposto por Adriana visa a angariar o olhar plurívoco do espectador, sua obra tem como base o período colonial brasileiro. Desse modo, suas obras são vistas como ponto de convergência entre saberes históricos e a cada descrição de suas obras, uma difusão de referências, casos e imagens se desdobram. Os trabalhos de Adriana exploram as histórias implícitas e não contadas, criando um tipo de historiografia crítica em que, a sua maneira, osretratos acadêmicos iluminam o que ficou oculto da experiência violenta no universo doBrasil colonial. / Abstract: The artist Adriana Varejao, is among the most successful on the world circuit . It is currently one of Brazil's most prominent artists ofthe contemporary scene in Brazil and abroad. The pictorial space proposed by Adriana aims to raise the plurivocal eye of the beholder, his work is based on the Brazilian colonial period. In this way, his work is seen as a point of convergence between historical knowledge and every description of his works, a broadcast references, cases and images unfold. The Adriana's works explore the implicit stories and untold, creating a kind of critical historiography in which your way, academic portraits illuminate what was hidden from the violent experience in the world of colonial Brazil. / Mestre

It Should Be Familiar is an artist’s book and collection of copper and steel intaglio printing plates. Together they examine shifts in external and internal identities, personal symbols, and perceptions of trauma over time. The book is printed with a plant-based dye mixture that reacts differently to each metal plate. As a parallel to the mentioned personal shifts, images in the book will change color with exposure to the metals as well as UV light.

What follows are the motivations and desires behind my writing and why I chose to pursue writing in the first place. This paper not only gives context to my creative stories, but it also functions as a self-portrait, a glimpse of the writer behind the text. In this paper, I speak of my experiences of growing up in a marginalized group, of being a daughter of Mexican immigrants and a member of the working class. I explain how those experiences helped shape the content and voice that I portray in my collection of short stories called, Somewhere Between Here and There. This collection of short stories emerged at the start of my graduate program but it was a project that was slowly accumulating over the years. The collection centers on the invisibility of a Latino community and dramatizes the challenges that they face as individuals and as a group. Many of my characters face challenges both at an individual and institutional level that causes fragmentation. In the end, each character tries to cope with their situation while trying to find and discover a sense of self and belonging in the world.

acase@tulane.edu

"This study, "Surface Textures of Unglazed Pottery," will record and evaluate a series of experiments performed that can be achieved on unglazed ceramic ware....The problem will be limited to experiments using a red clay from Horatio, Arkansas, a buff clay from Trenton, New Jersey, and a tan clay from Athens, Texas. The specimens will be fired at the temperature of 1643 degrees Fahrenheit...Experiments performed with the three clays will fall into three categories: (1) textures resulting from introduction of foreign matter into the clay (2) textures resulting from surface treatments of green ware and (3) textures resulting from surface treatments of bisque-fired ware. The experiments will be described and the fired clay specimens -- tiles 2"x2"x1/4" will be evaluated according to aesthetic and practical standards. Plates showing fired clay tiles resulting from the experiments will accompany the text [in volume 2]."-- leaf 1.

A quick observation in this modern world makes one realize the great problem of leisure time that is upon us. Man Is working fewer hours and retirements are at a younger age. How man finds himself poorly prepared. To cope with the situation. In our schools today millions of dollars are spent teaohing art, crafts, dramatics. music, and physical education in an attempt to train for leisure, yet we spend. a comparatively little amount of money for continuing these activities in out-of-school hours.

This is a creative thesis consisting of two short stories in the post-apocalyptic genre. A genre that highlights suffering, societal trauma, and the effects of trauma and loss on the human psyche. This genre asks the reader to be sympathetic to these extreme plights. Post-apocalyptic narratives also feature classic heroes who come out on top, despite the genre’s harrowing settings. The two stories featured in this creative thesis are an answer to my inquiry into the genre and seeks not only to show what makes post-apocalyptic literature entertaining but also worthy of literary merit. The two short stories that constitute this body of work are “A Muddled Canvas,” and “They Have No Ears to Hear My Pleas.” The first story, “A Muddled Canvas,” asks what responsibility God, the protagonist, has to those who remain after the apocalypse he created. The story follows God as he tries to come to terms with the effects his actions have on his creations. The other story, “They Have No Ears to Hear My Pleas,” follows the life of a therapist turned apathetic to his clients’ issues because of the apocalypse. After so much time spent helping others, he develops a bad case of compassion fatigue.

The purpose and underlying motivation for this project was to examine the procedure of garment construction methods, by specifically choosing to abandon traditional rules and standards that are associated with mass production. I chose to explore domestic hand-craft made by women in New Zealand in their domestic situation, focusing on hand-stitched techniques from the past reflecting a nostalgic value which potentially contributed to the garment’s construction process. The project sought to utilize the re-using of materials by incorporating previously made hand-craft; and looked at the remaking of second-hand garments by means of deconstruction and reconstruction. Traditional hand-craft, in this context, refers to the use of craft forms not governed by principles of efficiency, mass production or technology, allowing the garments to contain unique ‘one of a kind’ hand-made qualities. My studio practice specifically focused on exploring the relationship between hand-craft and garment construction, by researching their application and integration into the garment’s structure, along with disrupting the orderly traditional production process. I was not focusing on the finished garment’s design. The project provided an opportunity to refocus my attention on the hand-made, as I perceived that the skills required to produce these were being extinguished by modern lifestyles. Exploration promoted new discoveries by exposing the construction process and revealing unpredicted combinations. The project explored these ideas, resulting in a range of women’s garments that revealed, as part of their construction, hand-work which offered a modern variation of nostalgia. This project comprised of 80% practical work and will be accompanied by an exegesis with a value of 20%.

The research articles in this portfolio describe and analyse how process drama teachers use the special combination of content knowledge, pedagogical knowledge and knowledge gained in 'lifeworld' experiences (described in this portfolio as their 'professional craft knowledge') in order to promote learning. These publications also provide a detailed description of methods used in pre-service teacher education at the University of Sydney to enhance the development of professional craft knowledge in beginning teachers. The studies in this portfolio are framed within an interpretative research paradigm; the subject matter of the research is the way that teachers and learners in process drama collaborate to construct meaning. The methodology is primarily reflective practitioner research, recently described as one of drama's 'own innovative recommended research designs'. Qualitative methods have been used to collect and analyse relevant data. Separate sources of data are used to check the trustworthiness of the findings, through the process of crystallization : the alignment of sources such as reflective journals, outside observations, video records and oral reflections. Professional craft knowledge is developed by individual teachers as they reflect in action on the choices they see as available to them, as they work with their own classes. Often teachers are not conscious of the expertise they are developing; it quickly becomes tacit, embodied knowledge. However, reflecting upon their actions, teachers can usually explain why they acted as they did. The research articles in this Portfolio make use of reflection in and upon action in order to deconstruct the work of process drama teaching. As a collection these articles also examine how the use of reflective practices in pre-service education can facilitate and enhance the development of craft knowledge before teachers enter the professio / Doctor of Education

In the years between 1960 and 1975 in NSW there emerged a loosely connected network of women interested in modern or creative embroidery. The Embroiderers' Guild of NSW served as a focus for many of these women, providing opportunities for them to exhibit their work, and to engage in embroidery education as teachers or as learners. Others worked independently, exhibited in commercial galleries and endeavoured to establish reputations as professional artists. Some of these women were trained artists and wanted embroidery to be seen as 'art'; others were enthusiastic amateurs, engaged in embroidery as a form of 'serious leisure'. They played a significant role in the development of creative embroidery and textile art in NSW and yet, for the most part, their story is absent from the narratives of Australian art and craft history. These women were involved in a network of interactions which displayed many of the characteristics of more organised art worlds, as posite d by sociologist Howard Becker. They produced work according to shared conventions, they established co-operative links with each other and with other organisations, they organised educational opportunities to encourage others to take up creative embroidery and they mounted exhibitions to facilitate engagement with a public audience. Although their absence from the literature suggests that they operated in isolation, my research indicates that there were many points of contact between the embroidery world, the broader craft world and the fine art community in NSW. This thesis examines the context in which creative embroiderers worked, discusses the careers of key individuals working at this time, explores the interactions between them, and evaluates the influence that they had on later practice in embroidery and textiles in NSW.