<p>Michel Foucault's philosophy took the form of a series of historicallygrounded "genealogical" studies of the interconnections between knowledge and various social practices in contemporary society. This work is a reading of "the good11-to use Charles Taylor's term-in Foucault's genealogies.</p> <p> According to the American social-historian David Rothman, "history is a liberating discipline for it reminds us that there is nothing inevitable about the institutions and procedures that surround us. In developing my reading of "the good" in Foucault's genealogies I have endeavoured to translate the spirit of this claim into the proposition that Foucault's genealogies were an expression of his desire to increase human freedom through historical critique; i.e., that Foucault's ethics were embodied in his philosophy which constitutes "a practice of freedom".</p> / Thesis / Master of Arts (MA)

I detta examensarbete görs en diskursiv och historisk undersökning av kritikgenomgången i arkitektutbildningen. Kritikgenomgången utgör en central komponent i det samtida paradigmet för arkitektutbildning – studion. Examensarbetet går igenom och diskuterar aktuell forskning om kritikgenomgången, vilket ger en nedslående bild av kritikgenomgångens pedagogiska potential. Vidare undersöks kritikgenomgångens historiska rötter med fokus på den svenska kontexten, vilket ger vid handen att kritikgenomgången i sin nuvarande form fick sin roll i svensk arkitektutbildning under 1990-talet, alltså samtidigt med studioparadigmets genomslag. Dessutom redovisas resultaten av en intervjustudie med lärare vid KTH Arkitekturskolan, vilka visar att diskursen om kritikgenomgången innehåller flera motsägelser och problem. Resultaten av undersökningarna diskuteras sedan utifrån en förståelse av omdömet som centralt begrepp och förmåga för att förstå den implicita definition av arkitekten som manifesteras i kritikgenomgången och i disciplinens kanon. / This thesis presents a discursive and historical investigation of the origins and causes of the design review in architectural education. The design review, jury or ”crit” i s an integral and central part of the contemporary paradigm for architectural education – the design studio. The thesis discusses previous research on the design review, which paints a gloomy picture of the learning possibilities of the review. The historical roots of the review are studied with the Swedish context as a focus, showing that the review in its contemporary form was adopted concurrently with the design studio paradigm during the 1990’s. Furthermore, interviews were carried out with instructors at the School of Architecture at the Royal Institute of Technology in Stockholm. Results from the interviews point to several contradictions and issues in the discourse about the review. Seeing the concept and faculty of judgment as central to understand the implicit definition of the architect, as manifested in the review and in the canon of the discipline, these findings are the discussed and contextualised.

This dissertation examines distance learning within a local, particular context: UCF's English department. In order to fully examine distance learning in this specific environment, I employ institutional critique as my methodology, a rhetorical and spatial approach that allows me to map distance learning within UCF's English department. Drawing upon the work of David Harvey, I examine the experienced, perceived, and imagined spaces of distance learning in our department. Through an examination of the history of naming UCF, rhetorical analyses of institutional documents that reference technologies, analysis of survey results noting faculty attitudes and perceptions of online learning, and postmodern mapping of faculty members' perceived and ideal spaces, we can find local solutions for local problems related to distance learning.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2007-2008. / Les trois chapitres de ce mémoire sont consacrés à l'étude du thème du paysage dans la poésie d'Alfred Garneau (1836-1904), d'Albert Lozeau (1874-1924) et de Jean-Aubert Loranger (1896-1942), trois oeuvres qui rompent avec la poésie patriotique et avec sa conception de l'espace comme support idéologique pour privilégier un rapport plus individuel à l'environnement. L'œuvre d'Alfred Garneau se caractérise par un refus du chant et par l'adoption d'une posture d'écoute qui donne lieu à des descriptions offrant une mise en tableau du visible. Celle d'Albert Lozeau se définit par un approfondissement de la subjectivité qui trouve son équivalent dans l'aspect mouvant et précaire du paysage. Enfin, les poèmes de Jean-Aubert Loranger présentent ce que leur auteur appelle un « sensualisme », selon lequel l'aspect du monde est essentiellement un fait de sensation.

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