In this thesis I am studying the phenomenon of contemporary architecture evolving into art and, similarly, how contemporary art seems to evolve towards architecture. The aim of the study is to examine the blurred line between art and architecture that is significant for our century. Besides overall attempting to explain the relation of art and architecture in past, present and prospective, the particular method in my investigation is a comparative study of two main examples. One of these is in the field of artistic architecture (Frank Gehry’s Fondation Louis Vuitton), followed by one from the field of architectural art (Olafur Eliasson’s Inside the Horizon). By using text- and image-based analysis, I am pointing out both similarities and differences in the examples to determine if and where the fading line still appears. By aiming to understand the phenomenon from several viewpoints, I have been able to conclude that the fusion of art and architecture in most cases is a sign of intrinsic artistic progression. Yet the Art-Architecture Complex as an ongoing event seems to be subject to an infinite debate.

The purpose of this survey and study is to attempt the establishment of ways in which the business administration department of Frank Phillips College may help its students to prepare to fill the employment needs in the commercial offices of the area.

Esta dissertação refere-se à análise, em seus fundamentos estruturais, estilísticos e instrumentais da obra Guitare pour Orquestre, criada em 1934 pelo compositor suíço Frank Martin (1890-1974) para grande orquestra. O trabalho se desenvolveu através da comparação entre as fontes manuscritas para orquestra e o original para violão, composto um ano antes, conhecido como Quatre Pièces Brèves pour la Guitare. / This dissertation refers to the analysis, in the structural, stylistic, and instrumental fundamentals of the musical composition Guitare pour Orquestre, created in 1934 by the Swiss composer Frank Martin (1890-1974) for the whole orchestra. The paper was developed by the comparison among the manuscripts for orchestra and the original composed for the guitar the previous year, known as Quatre Pièces Brèves pour la Guitare.

Abordé sous la forme d’une étude de cas, ce travail se situe à la croisée des trois domaines de recherche que sont l’architecturologie (l’étude du processus de création appliquée au domaine de l’architecture), l’histoire de l’architecture moderne et l’histoire du Japon moderne. Il se propose de cerner le processus de conception architecturale par lequel l’architecte tchèque naturalisé américain Antonin Raymond (1888-1976) a réalisé une synthèse entre un modernisme occidental emblématique des années 1920 et 1930 et l’habitat vernaculaire japonais, produit d’une tradition ancienne de la conception de l’espace et de la construction. Organisée en trois parties, la thèse s’ouvre sur une biographie présentant le parcours qui mène Raymond de sa Bohême natale jusqu’au Japon, en passant par les États-Unis. Elle se poursuit avec l’étude des circonstances dans lesquelles il s’établit en tant qu’architecte indépendant à Tokyo, en rendant compte de l’acquisition d’un certain nombre de moyens humains et techniques nécessaires à la pratique architecturale dans le contexte japonais. Enfin, une sélection de dix-sept villas réalisées à Tokyo et des destinations de villégiatures environnantes entre 1921 et 1938 est présentée. L’analyse architecturale détaillée de ces habitations réalisées pour une clientèle d’élite japonaise et occidentale permet d’observer les étapes du développement du processus de création architecturale qui ont permis à Antonin Raymond de proposer une architecture à dimension universelle ancrée dans un contexte local. Par le biais de l’architecture, ce travail illustre ainsi une partie des problématiques et des enjeux soulevés par le processus de modernisation qui caractérise l’histoire du Japon dans la première moitié du XXe siècle. / In the form of a case study, this thesis is set at the crossroads of history of modern architecture, history of modern Japan and architecturologie (the study of the creative process applied to the field architecture). The purpose of this research is to define the design process through which Czech born American architect Antonin Raymond (1888-1976) carried out a synthesis between some of the most iconic forms of 1920s and 1930s Western modernism, and Japanese vernacular residential architecture inherited from a long tradition of space conception and construction. The thesis is structured in three parts. Starting with a biographical account of the architect’s first 32 years, the first part deals with the educational and professional journey that led Raymond from his native Bohemia to Japan, via the United States. The second part explores the circumstances of his establishment as an independent architect in Japan, and examines the human and technical means he implemented in order to set up his professional practice in the Japanese context of the 1920s. The third part gives a detailed analysis of a selection of seventeen houses designed and built between 1921 and 1938 for members of the Japanese and international elite community in Tokyo and its surrounding resort destinations. The detailed architectural analysis of these works illustrates the various stages and dimensions of Raymond’s design process, and provides insight into his own proposal for an architecture encompassing both universal and local dimensions. Through the subject of architecture, this study deals with a number of problematics and challenges brought by the process of modernisation in Japan during the first half of the 20th century.

Esta dissertação refere-se à análise, em seus fundamentos estruturais, estilísticos e instrumentais da obra Guitare pour Orquestre, criada em 1934 pelo compositor suíço Frank Martin (1890-1974) para grande orquestra. O trabalho se desenvolveu através da comparação entre as fontes manuscritas para orquestra e o original para violão, composto um ano antes, conhecido como Quatre Pièces Brèves pour la Guitare. / This dissertation refers to the analysis, in the structural, stylistic, and instrumental fundamentals of the musical composition Guitare pour Orquestre, created in 1934 by the Swiss composer Frank Martin (1890-1974) for the whole orchestra. The paper was developed by the comparison among the manuscripts for orchestra and the original composed for the guitar the previous year, known as Quatre Pièces Brèves pour la Guitare.

Muitas biografias foram escritas sobre Fiódor Dostoiévski, nome central da literatura russa do século XIX. Dentre os títulos dedicados à vida do escritor russo destaca-se Dostoiévski de Joseph Frank, um grande esforço de investigação elaborado ao longo de quase três décadas. A obra escrita pelo scholar norte-americano consiste em uma síntese da história cultural da Rússia no século XIX, contexto no qual Dostoiévski viveu, além de um esforço de interpretação da ficção do romancista. Essa pesquisa visa analisar a biografia de autoria de Joseph Frank, assim como efetuar uma comparação entre essa obra e outras biografias importantes escritas sobre o escritor russo. Paralelamente, pretende-se investigar as questões teóricas e metodológicas concernentes ao gênero biográfico. Tendo em vista a grande repercussão da obra nas publicações norteamericanas, essa pesquisa também examinará de modo panorâmico a recepção da biografia de Frank nos Estados Unidos e os percursos da eslavística norte-americana nas últimas décadas. / Many biographies have been written about Fyodor Dostoevsky, a prominent 19th century Russian literature novelist. Among all these titles, Joseph Frank\'s Dostoevsky stands out as a great synthesis of the Russian writer\'s life and era. Written along three decades, Frank\'s work recreates the Russian cultural history in the second half of the 19th century and proposes an interpretation for Dostoevsky\'s literary works. After this biography, Frank has become one of the most important North American\'s experts in Russian literature and Dostoevsky. This research aims to analyze this monumental biography, to compare this work with other biographies written about the thrilling life of Dostoevsky and to investigate the theoretical and methodological problems of the biography genre. Finally, considering the repercussion of Dostoevsky for the intellectual community of United States of America, we will also analyze the reception and the critiques of Frank\'s biography and the situation of the last decades of Slavic studies in that country.

Thesis--Darmstadt. / Added t.p. with thesis statement. Vita. Includes bibliographical references (p. 257-286).

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Frank Jackson’s knowledge argument is a very influential piece of reasoning that seeks to show that colour experiences constitute an insoluble problem for science. This argument is based on a thought experiment concerning Mary. She is a vision scientist who has complete scientific knowledge of colours and colour vision but has never had colour experiences. According to Jackson, upon seeing coloured objects, Mary acquires new knowledge that escapes her complete scientific knowledge. He concludes that there are facts concerning colour experiences that scientific knowledge can neither describe nor explain. Specifically, these facts involve the occurrence of certain non-physical properties of experiences that he calls qualia. The present research considers whether a plausible formulation of the hypothesis that science can accommodate colour experiences is threatened by a version of the knowledge argument. The specific formulation of this problem has two motivations. Firstly, before investigating whether the knowledge argument raises a problem for the claim that science can account for colour experiences, we need a plausible formulation of this claim. I argue that the idea that science can accommodate colour experiences can be formulated as the modest reductionism hypothesis. Roughly speaking, this is the hypothesis that a science that can be explanatory interfaced with current physics of ordinary matter can account for conscious experiences. Secondly, an unintelligible premise figures in Jackson’s version the knowledge argument. Namely, it is assumed that Mary possesses a complete (future or possible) scientific knowledge. Nevertheless, the type of strategy involved in Jackson’s argument can be used to target modest reductionism. By considering contemporary psychophysics and neuroscience, I characterise Mary’s scientific knowledge. First, this characterisation is intelligible. In fact, it is elaborated on the basis of descriptions and explanations of colour experiences involved in current physics and neuroscience. Second, a supporter of modest reductionism can assume that the scientific knowledge ascribed to Mary might account for colour experiences. The main conclusion of the present research is that our version of the knowledge argument fails to threaten the modest reductionism hypothesis. In fact, I endorse what can be called the “two ways of thinking” reply to the knowledge argument. According to this response, the knowledge argument shows that there are different ways of thinking about colour experiences. One way of thinking is provided by scientific knowledge. The other way of thinking is provided by our ordinary conception of colour experiences. However, the existence of these two ways of thinking does not imply the existence of facts and properties that escape scientific knowledge. It might be the case that the ordinary way of thinking about colour experience concerns facts and properties described and explained by science. The principal conclusion of the research results from two investigations. The first line of research aims to reveal and evaluate the implicit assumptions that figure in the knowledge argument. The main body of the research is dedicated to this task. The principal result of this investigation is that the knowledge argument must rely on an account of introspective knowledge of colour experiences. I argue that an inferential model of introspection provides such account. On this model, Mary’s capacity to hold beliefs about her colour experiences when she sees coloured objects requires her mastery of colour concepts. The second main investigation seeks to justify the two ways of thinking strategy. As many opponents and supporters have recently started to realise, this strategy might be charged with being ad hoc. I offer a distinctive justification of this reply to the knowledge argument. Assuming the account of introspection mentioned above, the existence of visual recognitional colour concepts might justify this strategy. A person possesses these concepts when she is able to determine the colours of objects simply by having visual experiences.

Made available in DSpace on 2015-05-14T12:52:31Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 9138854 bytes, checksum: ab441256c1895d46734a1cce4e4e43cc (MD5) Previous issue date: 2013-05-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / A Carmen Fantasy for Double Bass and Piano: a technical and interpretative study. A research realized about the work written by the American composer Frank Proto (1941). This work has as one of its approaches the stylistic contribution of François Rabbath (1931) granted in the piece. It contains an analysis of the form, harmonic and melodic structures of each movement, which are presented as the main focus of this paper, and also an exposition of the opera´s excerpts used into the Fantasy. This analysis shows the jazzistcs features that the composer uses in the piece. As an aid to practice preparation, I include indications of fingerings. The work also includes a brief biography of the composer Frank Proto, the bassist François Rabbath and a synopsis of the opera Carmen, where there is a description of the scenes from the opera used into this fantasy. / A Carmen Fantasy para contrabaixo e piano: um estudo técnico e interpretativo. Uma pesquisa realizada acerca da obra escrita pelo compositor norte americano Frank Proto (1941). Este trabalho tem como uma das suas abordagens a contribuição estilística que François Rabbath (1931) concedeu na obra. Contém uma análise da forma, estrutura harmônica e melódica em cada movimento, que são apresentadas como conteúdo principal deste trabalho e um esclarecimento dos trechos da ópera utilizados na Fantasia. A análise expõe as características jazzísticas que o compositor utiliza na obra. Como ajuda na preparação do estudo, estão incluídas sugestões de dedilhados. Esta dissertação inclui também uma breve biografia do compositor Frank Proto, do contrabaixista François Rabbath e uma sinopse da ópera Carmen, onde há a descrição das cenas da ópera utilizadas nesta fantasia.