Thesis (M.M.S.)--Memorial University of Newfoundland, 2002. / "October 2002." Bibliography: leaves 56-66.

This thesis addresses the nineteenth-century art collection of Donald Alexander Smith, Lord Strathcona (1820--1914), in relation to intersecting questions of imperialism, colonial relations, and cultural status. Both the formation of the collection and its dispersal are linked to a dialectic of cultural hegemony and national identity in nineteenth-century Canada. Smith came penniless to Montreal from Scotland in 1838, became the wealthiest man in Canada by the end of the century, and is known as Lord Strathcona after being raised to the peerage by Queen Victoria in 1897. My discussion of the rise and fall of Strathcona's collection is informed by postcolonial theory and its critical re-reading of imperialism. While British imperialism was the ideology that governed Strathcona's activities, Anthony Giddens's structuration theory is introduced to account for how personal agency remains operative within this dominant ideology. / Strathcona formed a significant collection of European paintings and Asian art, which was, however, largely dispersed by the institution charged with its care, thus reducing its significance. Krzysztof Pomian's concept of collectors as select individuals who mediate symbolic cultural power through semiotic constructs provides an important methodological anchor for an analysis of the collector and his collection, as does Carol Duncan's work on the motivation to collect art and to structure cultural identity through control of museums. As well, the princely model of collecting reveals the humanist values operative throughout the centuries by comparison of Strathcona to the Medici in terms of the deployment of spectacle. / This thesis makes use of primary source materials to compare Strathcona's collection to several of his peers in order to place him in his cultural milieu during a time in Canadian history when Montreal was a British enclave in a French province. Analysis of fragmented primary source inventories, catalogues, personal letters, and records held by the Montreal Museum of Fine Arts and the National Archives of Canada, identification of paintings documented in the Notman photographs of 1914--1915, and my tracing of the public portraits of Strathcona by Robert Harris still on view in Montreal institutions allowed me to create useful inventories that previously did not exist.

According to Dorst and Dijkhuis (1995) the two principal paradigms governing design activity discourse, are Simon's rational problem solving, and Schon's theory of design as a 'reflective conversation with the situation'. The rational problem solving view, that a fixed problem space structures design activity, has reduced the designer to a 'missing person' within design activity research (Dorst & Reymen 2004). This thesis aims to highlight the agency of the designer in structuring and motivating socially situated design activity. Dorst's (2006) framework of 'design paradoxes' suggests that design problems are evolving and unknowable. Design situations are determined through the designer's reinterpretation of the social discourses underpinning design situations, in a similar way to 'problem setting' within 'reflection-in-action' (Schon 1983). While Dorst suggests interpretation relies on intuition, problem setting relies on 'professional artistry' which is 'bounded' by the 'appreciative system' (personal knowledge, values and beliefs) and is essentially 'learnable' (Schon 1983). This thesis explores the correspondence between Schon's theory and contemporary frameworks including 'design paradoxes' (Dorst 2006), 'designerly ways of knowing' (Cross 1982), 'organising principles' (Rowe 1987), and 'creative problem construction' (Mumford et al 2004). It investigates the agency of the designer as evidenced in the use of the 'appreciative system'. This is elucidated using case study analysis of a novice designer, within a tertiary design degree. The case reveals the structured and motivated use of the designer's appreciative system. It indicates the deployment of 'appreciative goals' are fundamental to the 'linking behaviour of designers' (Dorst 2006), enabling design to begin in the absence of 'repertoire' or domain knowledge (Schon 1983), and the acquisition of new repertoire knowledge. These emergent findings offer new pedagogical perspectives both in terms of design expertise, which is normally associated with domain knowledge, and educating domain independent, multidisciplinary designers. Frames or similar 'organising principles' operate in most design fields, and create a 'principle of relevance' for knowledge from multiple domains and disciplines (Buchanan 1992). An awareness and acknowledgement of the objective function of subjective personal and social knowledge is essential in order to locate the 'missing' designer and understand innovative design activity.

Thèse (D. en histoire de l'art)--Université du Québec à Montréal, 2005. / En tête du titre: Université du Québec à Montréal. Bibliogr.: f. 273-289. Publié aussi en version électronique.

Thesis (D.M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 7, 2005, Mar. 20, 2006, June 5, 2006, and Nov. 5, 2007. Includes bibliographical references (p. 80-83).

Zugl.: Canberra, Univ., Diss.

Thesis (doctoral)--Rijksuniversiteit te Groningen, 2004. / Cover title. Includes bibliographical references (p. 157-171).

Problemformulering: Det amerikanska valet år 2016 har gått till historien. Det stod mellan två oväntade kandidater, Hillary Clinton som var USA:s första kvinna att kandidera till president. Den andra kandidaten var Donald Trump, en framgångsrik affärsman utan politisk bakgrund. Segrare blev Donald Trump, vilket förbluffade världen. Presidenten började sin första dag med att kritisera medier för att dem ska använda sig utav “Fake News” när det publicerar nyheter. Det är presidentens begrepp “Fake News” som lade idén för vår studie. Syfte: Studien ämnar undersöka huruvida Svenska Dagbladet och Dagens Nyheters utformning och gestaltningar i nyheter framställs och därmed presenteras för medborgarna samt huruvida de två valda tidningarna framställer President Trump. Metod och material: En kvantitativ innehållsanalys har genomförts bestående av totalt 40 analysobjekt från Svenska Dagbladet och Dagens Nyheter. Huvudresultat: Nyheters logik och berättartekniker, nyheters beskrivande innehåll samt nyheters utformning utgör i samverkan med varandra, i större och mindre utsträckning, en god grund för hur individer väljer sin informationskälla och uppfattar verkligheten. Dessa skapar även förutsättningar för mediernas betydelse i samhället och vilken påverkan de har på individer i samhället. Utan medialiseringen och nyhetsvärderingen tenderar gestaltningen i nyhetsrapportering inom politik att bli intetsägande. Vidare är de politiska aktörerna och medierna beroende av varandra och samspelet mellan varandra för att fånga uppmärksamheten hos individer i samhället.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2015. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-02-05T17:31:08Z No. of bitstreams: 1 2015_IsadoradeAssisBrasil.pdf: 3254863 bytes, checksum: 7b3caae769b9ad1bdd2409a16d14ccfe (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-02-05T18:02:36Z (GMT) No. of bitstreams: 1 2015_IsadoradeAssisBrasil.pdf: 3254863 bytes, checksum: 7b3caae769b9ad1bdd2409a16d14ccfe (MD5) / Made available in DSpace on 2016-02-05T18:02:36Z (GMT). No. of bitstreams: 1 2015_IsadoradeAssisBrasil.pdf: 3254863 bytes, checksum: 7b3caae769b9ad1bdd2409a16d14ccfe (MD5) / Essa pesquisa examina as ligações entre os conceitos de identificação projetiva e de transicionalidade, com base nas obras de Melanie Klein e Winnicott sobre as experiências precoces. Começa pelo estudo do conceito kleiniano de identificação projetiva, focado sobre seu aspecto intrapsíquico. Em seguida, contemplando-se os desenvolvimentos clínicos que conduziram à evolução histórica desse conceito, essa pesquisa chega ao seu entendimento enquanto um processo interpsíquico. Subsequentemente, busca-se relacionar a identificação projetiva às contribuições de Winnicott acerca do desenvolvimento emocional primitivo, detalhando a sofisticada forma como uma mãe se identifica com seu bebê, e as influências disto para o estado de preocupação materna primária. Finalmente, apoiado nas convergências e divergências entre Klein e Winnicott, costura-se o argumento de que a identificação projetiva, aliada à transicionalidade, favorece o movimento pendular que configura um funcionamento psíquico dinâmico e saudável. / This research examines the links between the concepts of projective identification and transitionality, based on the works of Melanie Klein and Winnicott about early experiences. It starts by studying the kleinian concept of projective identification, in its intrapsychic focus. Afterwards, by contemplating the clinical developments that led to its historical evolution, this study arrives at the understanding of projective identification as an interpsychic process. Subsequently, it relates this mechanism to Winnicott’s contributions regarding the primitive emotional development, detailing the sophisticated way that a mother identifies with her baby, and how this can influence the state of primary maternal preoccupation. Finally, supported by the convergences and divergences between Klein and Winnicott, it sews the argument that projective identification, when allied with transitionality, favors the oscillating movements that configure a dynamic and healthy psychological functioning.

This thesis argues that Barthelme's major 1985 essay "Not-Knowing" contains within its title Barthelme's central artistic idea, and that not-knowing informs both the subject of his fiction and his philosophy of art. This study will be the first critical treatment of Barthelme that positions his work from beginning to end in terms of the dimensions of not-knowing that came out of his own reading in psychology, art theory, philosophy, religion, and education, offering coherent readings of content and suggesting the ways in which content relates to form. The Introduction explores the origins of Barthelme's ideas of not-knowing, paying special attention to the influence of Mallarmé, Joyce, and Beckett on Barthelme's first characterisations of not-knowing, creativity, and reception. The first chapter gives an in-depth reading of Come Back, Dr. Caligari (1964), Barthelme's first collection of stories. Though Barthelme had not yet begun to formally theorise his ideas of not-knowing, they were already latent in Come Back, Dr. Caligari's characterisation of psychological experience, specifically in relation to anxiety, boredom, and interpretation. The second chapter looks at the ways in which Harold Rosenberg’s theories of the visual arts, and especially collage, which Barthelme encountered while co-editing Location magazine with Rosenberg in the early 1960s, address form and not-knowing, and how Barthelme treats these issues in Unspeakable Practices, Unnatural Acts (1968), City Life (1970), The Slightly Irregular Fire Engine (1971), Sadness (1972), Guilty Pleasures (1974), and Amateurs (1976). The third chapter shows how Barthelme's university studies in 19th century philosophy, especially Kierkegaard in The Concept of Irony (1841) and Kierkegaard's treatment of Schlegel in that treatise, inform his concern with irony, both in theory and practice, in City Life (1970), Great Days (1979), and Overnight to Many Distant Cities (1983). Chapter Four argues that Kierkegaard's theories of education and religion in Either/Or (1843) and The Present Age (1846), as well as the contemporary incarnation of Dewey's ideas of progressive education, both had a profound influence on Barthelme's ideas about the way a society is educated into knowingness, the artist's aspiration toward not-knowing, and the validity of religion in the postmodern world. The conclusion to the thesis reexamines the Introduction's argument about literary influence through a brief reading of The Dead Father (1975). Barthelme is recognised as one of the most important American postmodernist writers, and yet there has been relatively little critical treatment of his oeuvre. The major books that address Barthelme's work, which include Jerome Klinkowitz's Literary Disruptions: The Making of a Post-Contemporary American Fiction (1975) and Donald Barthelme: An Exhibition (1991), as well as Alan Wilde's Horizons of Assent (1981) and Stanley Trachtenberg's Understanding Donald Barthelme (1990), belong to a two-decade span of classifying writers such as Barthelme, Thomas Pynchon, Robert Coover, and John Barth using a limited set of ideas about postmodernism that were interesting as theory at the time, but did little to explore the actual literary, philosophical, and aesthetic content and contexts of these writers' works (with the possible exception of Pynchon). This thesis aims to rescue Barthelme from now-hackneyed ways of talking about postmodernism, which include lumping various aesthetic techniques under the rubric of "metafiction," claiming that the era's sole interest is in surface at the expense of depth, and that the dependence upon clichés is a deliberate expression of artistic exhaustion.