Thesis (S.T.M.)--Dallas Theological Seminary, 2001. / Includes bibliographical references (leaves 72-80).

Thesis (M.A.)--University of Louisville, 2005. / Department of Fine Art. Vita. "May 2005." Includes bibliographical references (leaf 14).

Thesis (M.S.)--University of Wisconsin--Madison, 1971. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.S.)--University of Delaware, 2006. / Principal faculty advisor: James G. Richards, Dept. of Health, Nutrition, and Exercise Sciences. Includes bibliographical references.

Thesis (Ph. D.)--University of California, San Diego, 2006. / Title from first page of PDF file (viewed September 19, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.

Nos travaux visent à mettre en tension d'une part l'usage privilégié, voire excessif, qui est fait des représentations chiffrées dans les organisations, et d'autre part une forme de déresponsabilisation constatée des managers, dans le cadre d'un contexte de crise, consécutif à un certain nombre de scandales financiers. Ce lien n'est pas documenté dans la littérature, mais chacun des termes de notre problématique l'est. Nous avons défini le concept de responsabilité à partir de la définition de Ricœur, le manager, comme étant un individu, dont les décisions orientent les organisations, et la représentation chiffrée, comme étant tout chiffre, tableau ou assemblage de chiffres quel qu'il soit, à partir du concept de représentation de Fourez. Par usage privilégié, nous entendons un usage prioritaire sans qu'il y ait questionnement quant à sa construction. Notre recherche théorique nous a permis en effet de souligner le fait que les managers sont peu enclins à interroger les chiffres qu'ils utilisent massivement, et que leur formation ne les y encourage guère. Notre revue de la littérature nous a également amenée à envisager cinq variables explicatives du lien étudié, déclinées en sous-éclairages, qui nous ont permis de construire notre dispositif empirique.Sur le terrain, nous nous sommes orientée vers la collecte de données primaires dans le cadre d'une démarche exploratoire. Le recueil des données s'est effectué auprès de managers aux profils variés, ayant une expérience professionnelle minimale, par le biais d'entretiens semi-directifs, visant à encourager le récit. Le matériau recueilli est constitué d'opinions, de narrations, de situations vécues, d'anecdotes… Nous avons choisi pour l'analyser, une méthode d'analyse qualitative de discours, en essayant toutefois de multiplier les clés d'entrée, avec notamment une analyse de contenu, grâce à l'outil NVivo. Ceci nous a permis de coder nos trente entretiens, par déduction à partir des éclairages issus de notre recherche théorique, mais aussi et surtout, par induction, en faisant émerger du matériau, de nouveaux éclairages sur le lien étudié.Nos résultats empiriques confirment ce que nous avions induit de nos lectures mais ils révèlent également quatre éclairages ou variables complémentaires. Nous avons pu en outre clarifier et parfois redéfinir chacun des éclairages retenus, mettre en évidence des pratiques et des représentations intériorisées corroborant notre thèse, mais aussi observer quelques signes d'évolution et de distance au chiffre, ainsi qu'un réel intérêt du monde des pratiques pour notre questionnement, nous permettant de souligner la pertinence et le bien fondé de notre problématique et de notre projet de recherche. / This work contrasts the favoured and sometimes excessive use of figures in organisations with the diminishing sense of responsibility observed in managers in the crisis context following on from the different financial scandals that have occurred in recent years. The literature does not document this link, but it does document each of the terms included in my research problem. I base my definition of the concept of responsibility on that of Ricœur. I define the manager as a person whose decisions orient the organisation, and, based on Fourez' concept of representation, I define figures as any figure, table or grouping of figures. I define favoured use as use that is given priority, whose construction is not questioned. My theoretical research revealed that managers are ill-inclined to question the figures that they use extensively, and that their training hardly encourages them to do so. From my literature review, I identified five variables to explain the link being studied, which I divide into sub-variables; I used these variables to construct my empirical research.In my exploratory fieldwork, I collected primary data from a range of managers with different levels of experience, using semi-structured interviews to encourage narratives. The material I collected is made up of opinions, accounts of personal experiences, anecdotes and so on. I then performed a qualitative discourse analysis, trying to identify as many key topics as possible using, among other tools, NVivo software to perform a content analysis. I used this analysis to code the thirty interviews, by deduction from the insights gained from my theoretical research, but also, and above all, by induction, gaining new insights from the material I had collected into the link under study.My empirical results confirm what I had induced from my review of the literature, but they also reveal four additional insights or variables. They also enabled me to redefine or clarify each of these insights, and to highlight practices and internalised representations that confirm my thesis. They also reveal some signs of change: practitioners showed great interest in my questions, some are beginning to question the predominance of figures, and even the figures themselves. These facts highlight the relevance and solid basis of my research problem.

M.Tech. / In this research I offer a reading of selected work by South African artists, Joni Brenner, Berni Searle and Minnette Vári in relation to Julia Kristeva‟s conception of the abject. In examining these artists‟ use of the formal elements of tactility in representation of their corporeality, I draw analogies between their work and two Kristevian theories of heterogeneity, namely the abject and the semiotic (see Pollock 1998: 9). The primary aim of this research is to examine how the use of tactility in visual art may disrupt notions of sameness with specific reference to the assertion of a non-gendered form of embodied representation. While I am indebted to feminist investigations of corporeality and identity, and use these as a theoretical framework, I attempt to reach beyond their politically gendered paradigm. In support of this, my research draws on certain arguments put forward by Kristeva as these are situated in, and advocate, a non-gendered form of embodiment. The element of homogeneity or pervasive naturalisation is aligned with the element of „sameness‟, characteristic of the symbolic element within signification (Lechte & Margaroni 2004: 108). Consequently, following Kristevian theory, I examine ways within visual art in which the semiotic element works in a constant, antagonistic dialectic with the symbolic element. Within this context, I argue these artists suggest the borders of selfhood to be fluid in nature. Within Kristeva‟s model of selfhood, the subject in process, the abject threat of dissolution of self may be contextualised. Therefore, the threat towards one‟s identity is not so much nullified, but is rather no longer separated from the understanding of self. Following Kristeva‟s (1991: 1) thought, one may argue that the foreign „other‟ and the self are intimately related. For the purposes of this research, the pertinent facet of the abject evident in these artists‟ work is an ambiguous, dynamic, open-endedness. I align the arguably consequential abject, partial dissolution of the binary logic of self and other suggested in these artists‟ work, through the use of the formal elements of tactility, with Kristeva‟s conceptualisation of intimate revolt. This intimate revolt advocates ii a continual, questioning revision which may lead to the renewal of the interlinked notions of language and identity. Using a Post-Structuralist approach to research I engaged in textual analysis in order to explore critical positions regarding embodiment, tactility and the abject in representation. In addition, in order to generate empirical research pertaining to her artmaking practice, primary research in the form of semi-structured interviews was conducted with Brenner. In this research, having drawn on Kristeva‟s heterogeneous tools of the semiotic-driven abject, the signifiance and poetic language of the speaking subject and practice of intimate revolt I offer a non-gendered reading of tactility as a transgressive means in the disruption of sameness. Through offering non-gendered readings of the chosen artists‟ work, I have attempted to emphasise the necessity of the abject within the continual formation and renewal of the non-gendered speaking subject within processes of signification and thus of identification.

No abstract available / Dissertation (MA)--University of Pretoria, 2008. / Visual Arts / unrestricted

Although the human head is a common subject in art, the Eskimos have utilized this motif in a most uncommon manner. Sculptures consisting of a number of human heads, and only human heads, have been produced throughout the arctic, but never as consistently as by the Dorset and contemporary artists. In view of the unusual nature of this subject and its flourishing appearance 900 years apart in two distinct Eskimo cultures, one wonders what significance the motif had for the Eskimos themselves and what connection, if any, exists between its role in the art of two different, albeit Eskimo, cultures. Investigation of these problems is complicated by the particular circumstances of both cultures, especially the Dorset. Little has been written about the multiples of either culture. And while the contemporary Eskimos are available for interview—and were very helpful in answering the queries put to them—the Dorsets have long since been replaced by the Thule Eskimos. Our only actual evidence of the prehistoric Dorsets is archaeological. In these circumstances the actual Dorset multiples themselves are especially important—they are our major source of information as to their use and significance. Although they themselves and analogy with other Eskimo cultures may suggest certain interpretations, any tentative conclusions about the multiples created by the Dorsets cannot be definitely substantiated. Research and personal interviews in the north established that the multiples have no ulterior significance for the contemporary Eskimos. The sculpture is made for sale in the south and continued possession of it is not necessary for the Eskimo's well-being. There was no consistent interpretation of the subject. The head motif may be used simply as a design element or the heads may represent any of the following: humans—often in a family group, mythological characters, or spirits. Most artists said the idea for the multiples was from their own head or from seeing other contemporary carvings of this subject. Only a few of the contemporary Eskimos gave any indication of knowledge of the use of this subject by older Eskimos in historical times. However, multiples were made in the 1800's in such places as Alaska, the Ungava District, and at Angmassalik, Greenland. Between these few 19th century examples and the Dorset multiples of about 1000, there seems to be a complete break in the tradition of the subject. Various factors indicate that the majority of Dorset art was probably used in a religious-shamanistic context. The use of heads on other religious objects as well as the occurrence of standardized multiples, with a specific number of faces, over a large geographical area indicate that the multiple was a part of this religious art. It seems likely that the multiple was used by the shaman himself as a magic staff in ceremonies and most likely in those shamanic duties associated with retaining the well-being of his charges; particularly their health. The motif of heads suggests the possible use of the multiple in that popular Eskimo means of divination—head-lifting. In any of these life-associated capacities, the beings represented on the multiple could be: successfully cured humans, the shaman's helping spirits, or even more likely, souls; either souls to be returned to the body during illness to effect the cure, dead souls of others consulted during a illness, or souls conducted away at the death of those not successfully cured. If the Dorset multiple functioned as a religious item, and it seems most likely that it did, the contemporary sculptors have continued the tradition of the original subject but have not retained the original significance. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

One purpose of this study was to determine of the actual physical dimensions of an individual are related to the dimensions of his human figure drawings. The specific physical dimension used in this study is that of stature of height. Another purpose of this study was to determine if college males majoring in Physical Education might be superior to college males majoring in Industrial Arts in terms of their clarity of body image.