Thesis (M.Ed.)--University of Hong Kong, 1994. / Includes bibliographical references (leaves 107-113). Also available in print.

Thesis (Ph.D.)--Ohio University, June, 2008. / Title from PDF t.p. Includes bibliographical references.

Thesis (M.A.I.S.)--Oregon State University, 2007. / Printout. Includes bibliographical references (leaves 53-58). Also available on the World Wide Web.

Made available in DSpace on 2014-12-17T14:35:55Z (GMT). No. of bitstreams: 1 MariaFO.pdf: 1181297 bytes, checksum: ffe7adb1b5fd180890bcf80e3aa954fd (MD5) Previous issue date: 2002-04-26 / Climacteric is the name of the period of the human life that it is going from the 40 years old, approximately, until the 65 years old. Though, for besides a biological phase of the woman's life, the climacteric is an object of the social world that is rendered to different apprehensions and readings on the symbolic plan. In this study, it was looked for to know the social representations, that health' professionals acting in the programs of the climacteric and the users of those same services, build in respect of that purpose. Besides, it tried to be seen that the social hegemonic representation that guides the actions and the agents' attitudes in the practices of attendance and education for the woman's health in the climacteric in the extent of the investigated institutions. The data were collected through interviews, questionnaire, focal discussion group and direct observation. The observation field was constituted by the three institutions that develop the attendance and education for the woman's health in the climacteric phase, in the city of Natal. A gender perspective was also been adopted, sought to evidence as the cognitive structures that assure the masculine power reproduction, pronounce to the social representations to build a sense to the investigated purpose. It was verified that the social representations of the climacteric are built mainly around the semantic fields old age and disease. For the health professionals, the meaning of the simbol old age carries the marks of the indentified system of the middle class employed, but also, of the feminine habitus that guides them to have an ethical and aesthetic apprehension of their own body. The climacteric, in that way, is seen as a difficult phase , a painful event that scares . For the women attended by those professionals, the sign old age means feeling emphasis from the biological climacteric aspects, in other words, the sensations and signs that forbid the body to accomplish certain linked basic life functions. Along the whole course of this thesis, it was verified that the climacteric is a complex phenomenon that needs to be faced as such. While cultural phenomenon, it is urgent to look for means to help to combat the centrality of the professional representations that face the climacteric as old age and disease, particularly in the field of health / Climat?rio ? uma palavra que serve para nomear o per?odo da vida humana que vai dos 40 anos, aproximadamente, at? os 65 anos de idade. Todavia, para al?m de uma fase biol?gica da vida da mulher, o climat?rio ? um objeto do mundo social que se presta a diferentes apreens?es e leituras no plano simb?lico. Neste estudo, buscou-se conhecer as representa??es sociais que profissionais da sa?de atuando nos programas do climat?rio e as usu?rias desses mesmos servi?os constroem a respeito desse objeto. Al?m disso, procurou-se ver como a representa??o social hegem?nica orienta as a??es e atitudes dos agentes nas pr?ticas de assist?ncia e educa??o para a sa?de da mulher no climat?rio, no ?mbito das institui??es investigadas. Os dados foram coletados atrav?s de entrevistas, question?rio, grupo focal de discuss?o e da observa??o direta. O campo de observa??o foi constitu?do pelas tr?s institui??es que, na cidade do Natal, desenvolvem a assist?ncia e educa??o para a sa?de da mulher no climat?rio. Adotando-se, tamb?m, uma perspectiva de g?nero, procurou-se evidenciar como as estruturas cognitivas que asseguram a reprodu??o do poder masculino articulam-se ?s representa??es sociais para construir uma atribui??o de sentido ao objeto investigado. Constatou-se que as representa??es sociais do climat?rio s?o constru?das, principalmente, em torno dos campos sem?nticos velhice e doen?a. Para as profissionais de sa?de, a ressignifica??o do signo velhice carrega as marcas do sistema identit?rio da classe m?dia assalariada, mas tamb?m, do habitus feminino que lhes orienta a ter uma apreens?o ?tica e est?tica do pr?prio corpo. O climat?rio, dessa forma, ? visto como uma fase dif?cil , um evento doloroso que amedronta . Para as mulheres assistidas por essas profissionais o signo velhice ? ressignificado dando-se ?nfase aos aspectos biol?gicos do climat?rio, ou seja, as sensa??es e sinais que impedem o corpo de realizar determinadas fun??es b?sicas ligadas ao viver/sobreviver. Ao longo de todo o percurso da tese, constatou-se que o climat?rio ? um fen?meno complexo que precisa ser encarado como tal. Enquanto fen?meno cultural urge, particularmente no campo da sa?de, buscar meios que ajudem a combater a centralidade das representa??es profissionais que encaram o climat?rio como velhice e como doen?a

This thesis investigates the expertise of applied theatre practitioners and proposes a concept of 'responsivity' to define their skills, knowledge, qualities and understanding. Practice-responsive research methods were devised to analyse how artists make decisions in-action in a range of applied theatre practice in community, education and health contexts. Research included the use of reflective dialogues following observations of practice, stimulated by joint researcher-practitioner reflection on a video recording of the observed session. Working from detailed analysis of this observed practice and dialogic reflection, new vocabularies are introduced and developed, with the aim of better articulating particular skills and approaches. The role of applied theatre practitioners is multi-faceted and primarily focussed on facilitating positive outcomes for the participants. Planning activity is informed by projected outcomes for the work and the context of practice, such as environment, nature of the participants, individual identities, etc. Practitioner skills build on art form knowledge and the ability to guide activity to create performance outcomes, alongside a concern for aesthetic and ethical issues of the work, as well as social and political awareness of the context. Adaptations to moment-by-moment activity reflect their ability to facilitate engagement and nurture interactive exchange. I suggest that, to manage these multiple demands, practitioners demonstrate heightened attendance to issues of inter-subjectivity and empathy, thereby developing an enhanced expertise in response to the work and the people and contexts involved in that work. The thesis proposes that responsive approaches are common to practitioners and enable her/him to make good choices within the moments of practice. Applied theatre's responsive-ness is indicative of a prioritisation of participant experience, however, the research also revealed the way in which a responsive ethos impacted and enriched the practitioners through supporting their own generative engagement with the work. The critical framework of responsivity proposed in this thesis acknowledges the importance of impact for all participants, including the artists. Whilst the methods and outcomes of applied theatre have received scholarly attention, this research focusses on how practitioners themselves define their expertise, embracing a consideration of skills learning and development. The concepts of response and dialogue informed this investigation in a number of significant ways, and as a result responsivity is proposed as a key methodological imperative for applied theatre research as well as the substantive focus of my thesis. This mode of operating as artists and researchers is particular to applied theatre's overarching aims to be socially responsive, politically engaged, ethically considerate and emancipatory. Responsivity is offered as a way to distinguish applied theatre practice from other performance participation and as an underpinning ethos for understanding the expertise of applied theatre practitioners.

Thesis (M.A.)--University of Toronto, 2004. / Adviser: Njoki Wane.

In 1877 the University of St Andrews initiated a unique qualification, the Lady Literate in Arts, which came into existence initially as the LA, the Literate in Arts, a higher certificate available to women only. Awarded by examination but as a result of a programme of distance learning, it was conceived and explicitly promoted as a degree-level qualification at a time when women had no access to matriculation at Scottish universities and little anywhere in the United Kingdom. From small beginnings it expanded both in numbers of candidates and in spread of subjects and it lasted until the early 1930s by which time over 36,000 examinations had been taken and more than 5,000 women had completed the course. The scheme had emerged in response to various needs and external pressures which shaped its character. The purpose of this thesis is to assess the nature and achievements of the LLA in its first fifteen years and to establish its place within the wider movement for female equality of status and opportunity which developed in the later decades of the nineteenth century. The conditions under which the university introduced the LLA, its reasons for doing so, the nature of the qualification, its progress and development in the years before 1892 when women were admitted to Scottish universities as undergraduates and the consequences for the university itself are all examined in detail. The geographical and social origins and the educational backgrounds of the candidates themselves are analysed along with their age structure, their uptake of LLA subjects and the completion rates for the award. All of these are considered against the background of the students' later careers and life experiences. This thesis aims to discover the extent to which the LLA was influential in shaping the lives of its participants and in advancing the broader case for female higher education. It seeks to establish for the first time the contribution that St Andrews LLA women made to society at large and to the wider movement for female emancipation.