O presente trabalho investiga, a partir da sociologia do cinema, uma seleção de filmes documentais do cineasta americano Frederick Wiseman (1930-). Trata-se de um documentarista com grande importância para o que ficou conhecido como cinema direto ou cinema vérité, uma corrente cinematográfica que, através de determinados artifícios formais ausência de narração, entrevistas ou intertítulos , causa uma forte impressão de realismo. Com isso, pretendi não apenas melhor compreender a produção deste cineasta como também refletir sobre algumas das construções narrativas presentes em seus filmes e, a partir disso, sobre algumas das relações entre cinema e realismo. Buscando trazer para a discussão este diretor pouco comentado na literatura brasileira, analisei aqui oito de seus filmes, distribuídos em três blocos temáticos: hospitais, exército e lazer. A análise se deu através de uma sociologia do cinema que compreende que a análise deve partir do próprio filme, compreendendo-o enquanto obra e enquanto a principal fonte de informação. No caso deste trabalho, a maneira pela qual Wiseman construiu imagens e narrativas ao longo de sua filmografia é interpretada enquanto uma resposta a uma das questões que permeia o cinema documental, qual seja, de como retratar e detalhar o real. Tendo isso em mente, podemos dizer que a câmera observadora não apenas observa. Ela narra, ela fala e ela argumenta. / In this thesis I investigate, by means of a sociology of cinema, a selection of films by the American filmmaker Frederick Wiseman (1930-). Being a documentary filmmaker of great importance for what became known as direct cinema or cinema vérité, a cinematographic trend that, by means of certain formal devices the absence of voice-overs, interviews of inter-titles leads to a strong impression of realism. Thereby, I intended to not only better comprehend Wisemans production as well as some considerations on the narrative constructions in his films, but also to consider some of the relations between cinema and realism. While I aim to bring forth a debate regarding this rarely discussed director within the Brazilian literature, I here analyze eight of his films, divided in three different themed topics: hospitals, military and leisure. The analysis was done by means of a sociology of cinema, which understands that the investigation must begin with the film itself, understanding it as a piece of work and as the main source of information. In this thesis, the manner by which Wiseman crafted images and narrative over the course of his filmography is seen as an answer to one of the questions that permeates documentary cinema, namely, on how to depict and detail reality. With this in mind, we can say that the observational camera does not merely observe. It narrates, it speaks and it argues.

Frederick Buechner is an American novelist, born in 1926, who, since 1950, has created eight novels and five works of nonfiction. Although his work has been reviewed and admired by prestigious critics, no lengthy study has yet appeared. Yet the merit of Buechner's work deserves wider critical attention. This study does not attempt to deal comprehensively with Buechner's twenty-five year span of creativity. Instead it presents a consideration of what has been Buechner's most consistent concern throughout his work: his attempt to justify the ways of God to contemporary man. This study is unique in that much of it is based upon a personal conversation with the author rather than on secondary sources. On March 15, 1976, a personal interview was granted with Mr. Buechner in Hobe Sound, Florida. It was a rare opportunity to question an author about his works and his life, especially since this interview occurred simultaneously with the writing of this paper. In addition to the personal interview, Buechner's nonfictional works were used to illuminate his fictional themes. The religious dimension is present in Buechner's works from the beginning, even before he had formally studied theology. Although Buechner is still a relatively young novelist who will no doubt add to his present achievements, he is already unique among modern novelists in that he does not hesitate to deal with religious concepts as literal truths.

Thesis (Ph. D.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 209-213). Available also in a digital version from Dissertation Abstracts.

Este trabalho, tendo como objeto de investigação as narrativas dos abolicionistas Luiz Gama (1830-1882) e Frederick Douglass (1818-1895), pretende evidenciar a maneira como os aspectos linguísticos e semióticos se articulam nos processos de projeção discursiva do eu e de construção discursiva identitária, bem como demonstrar a maneira como cada enunciador apresenta suas escolhas discursivas por meio dos procedimentos de tematização e figurativização. Assim sendo, temos como uma das principais intenções contribuir para a ampliação de visões e perspectivas, teóricas e analíticas, acerca dos escritos de ex-escravizados. Por conseguinte, a linha teórica norteadora deste trabalho é a Semiótica Discursiva de linha francesa. Essa perspectiva, de origem estruturalista, tem como foco o estudo, a reflexão e a análise da estrutura interna do texto. Concebida como a teoria geral da significação, a Semiótica ocupa-se dos processos de articulação discursiva que promovem a construção dos efeitos de sentido dos textos. Com isso, o corpus selecionado para a execução da pesquisa foi composto pelos seguintes textos: o poema Quem sou eu? (1861), a Carta a Lúcio de Mendonça (1880), ambos de autoria de Luiz Gama, e Narrative of the life of Frederick Douglass, an American Slave (1845), escrita por Frederick Douglass / In this work, we take as object of investigation the narratives of the abolitionists Luiz Gama (1830-1882), Brazilian, and Frederick Douglass (1818-1895), American. Thus, we intend to evidence the way as the linguistic and semiotic aspects are articulated in the processes of discursive projection of the self and discursive construction of identity, as well as to demonstrate the way each enunciator presents his discursive choices through the thematization and figurativization processes. So, one of our main intentions is to contribute to the expansion of theoretical and analytical visions and perspectives, on the narrative of ex-enslaved. Consequently, the theoretical framework of this work is Discursive Semiotics. This perspective takes into account the study, reflection and analysis of the internal structure of the text. Conceived as the general theory of signification, Semiotics is engaged in the processes of discursive articulation that promote the construction of the meaning effects of the texts. Therewith, the corpus selected for this research comprises the poem Quem sou eu? [Who am I?] (1861), Carta a Lúcio de Mendonça [Letter to Lúcio de Mendonça] (1880), both written by Luiz Gama, and Narrative of the life of Frederick Douglass, an American Slave (1845), written by himself

Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston's legacy is often overlooked among clarinetists in the United States. Thurston's playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston's career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston's playing, clarinetists may gain a fuller understanding of Thurston's ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers' inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. Much of this repertoire remains unexplored and unrecorded yet is suitable for intermediate to advanced level clarinet players.

The following thesis is a brief view of the production process of Theatre UNO’s Spring 2014 production of the Tennessee William’s New Orleans Literary Festival One-Act play competition 2013 winner, Father. This thesis will include analysis, production book, documentation from the production, and an evaluation of the process of putting this production on stage. The play was performed in New Orleans, Louisiana at the University of New Orleans, Performing Arts Center Robert E Nims Lab Theatre on February 11th- 16th, 2014.

Thesis (M.A.)--York University, 2001. Graduate Programme in Psychology. / Typescript. Includes bibliographical references (leaves 142-161). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ71710.

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The Halifax Asylum for the Blind, the first residential school for blind children in Canada, opened its doors in 1872 as a charitable institution with educational goals. This work explores the foundation of the Asylum in light of Halifax’s religious, economic, and educational history in the mid-nineteenth century. It highlights the influence of local personalities and the fight for financial stability that led to a changed understanding of educating blind children and adults from that of charitable need to philanthropic right.