Thesis (doctoral)--Université de Paris III, 1978. / Includes bibliographical references (p. 770-936) and index.

This report offers an analysis of the ways in which two eighteenth century georgic poems, John Dyer’s The Fleece and William Cowper’s The Task, mediate evangelical and imperial practices. Through an inquiry into the recent critical intersection between Kevis Goodman’s media focused research into the georgic and Clifford Siskin and William Warner’s similarly inflected inquiry into the Enlightenment, this report suggests that the didactic, agricultural musings of Dyer and Cowper betray a deep engagement the consequences of imperialism and the execution of Britain’s dawning evangelical charge. / text

Thesis (M.S.)--University of Wisconsin, 1965. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 132-136).

Made available in DSpace on 2014-06-11T19:24:43Z (GMT). No. of bitstreams: 0 Previous issue date: 2003-02Bitstream added on 2014-06-13T20:32:04Z : No. of bitstreams: 1 furtado_mlc_me_botfca.pdf: 219106 bytes, checksum: d3f19324f29700359ca81643a4b286b6 (MD5) / Na experimentação agronômica existem várias situações em que a variável biológica é avaliada por meio de categorias de respostas (qualidades de um atributo), cuja escala de mensuração é nominal ou ordinal. Nestas situações, a utilização de procedimentos estatísticos que envolvam a distribuição multinomial de probabilidades tornase mais adequada e a interpretação dos resultados propicia a melhora da qualidade de discussão biológica do fenômeno. A literatura especializada, entretanto, tem mostrado que na área de Ciências Agronômicas, Florestais e Agropecuárias, muito pouco tem-se produzido com o uso de testes multinomiais apropriados, como por exemplo, o teste de associação de Goodman e seus recorrentes. Dessa forma, visando estudar a utilização de contrastes lineares entre e dentro de proporções multinomiais de experimentos nestas áreas, objetivou-se elaborar um programa computacional de alto nível, mas de simples manuseio e fácil acesso a todos os pesquisadores das áreas aplicadas. Pretende-se ainda anexar ao procedimento, o manual do usuário com exemplos de operacionalização do software e sua contribuição no estudo da incidência de fungos que causam lesões em plantas de milho e também no estudo da incidência de diarréia de leitões a partir do uso de silagem de grãos úmidos de milho nas rações iniciais após o desmame de leitões. / In Agronomical experimentation there are several situations in which the biological variable is evaluated through categories of answers (qualities of a predicate), whose measuring scale is nominal or ordinal. In these situations, the utilization of statistic procedures involving the multinominal distribution of probabilities becomes more adequate within the viewpoint of the use of quantitative methods, and the discussion about the test results improves the quality of the phenomenon biological interpretation. The specialized literature, however, has shown that in the field of Forestal and Agronomical Sciences, very little has been produced with the use of appropriate multinomial tests, as for example, Goodman association test and its recurrent ones. Thus, with the aim of studying the utilization of linear contrasts among and in the multinomial proportions of experiments in these areas, the objective is to elaborate a high level computing program, but of simple handling and easy access to all researchers of the applied areas. It is still intended to add to the procedure the user’s handbook with examples of software operation and its contribution of the observational findings about the incidence of fungi which cause lesions on corn plants and also to the study about incidence of diarrhea in piglets from the use of silage of humid grains of corn for initial feeds after piglet wearing.

This thesis is about moods in works of art, and how moods expressed in art can change how we view the world. Among those who speak of the value of discussing moods in philosophical aesthetics, it is normally assumed that the value of moods is in the way they are induced in the viewer of the work. In this thesis, I will argue that such an argument is not the best. Those who think moods are not relevant to aesthetics have only to argue either that being induced with emotions is not an ideal way of approaching art, or that such reactions as being induced with mood belong to the more rare cases of approaching art. Therefore, focusing on how moods are induced hinders the potential of discussing moods in art. Instead I argue that the value of moods is in the way they are expressed. I argue that moods can be understood as a form of symbolic schemas. They affect how the world appears, and how one sorts and organizes things in the world. One can therefore use moods as resources for getting knowledge about the world. Because some works of art express moods, where expression is understood as metaphorical exemplification, they make the viewer epistemically aware of the mood. Thus one can imagine being in the mood expressed. Thereby moods can lead to knowledge, also in cases where they are not literally induced. When one succesfully imagines being in an expressed mood, parts of the world are sorted and organized differently as in accordance with the mood.

Cette thèse de doctorat est consacrée à la pensée du philosophe américain Nelson Goodman (1906-1998). Nous y défendons, à l’encontre de la plus grande partie de la critique, une lecture métaphysicienne de son œuvre. Il est démontré que Goodman, dans tous ses travaux, développe une métaphysique technique et méconnue, dont les piliers sont le nominalisme, le pluralisme, le perdurantisme, l’actualisme, et l’universalisme méréologique. Cette lecture permet de réévaluer l’ensemble de la pensée goodmanienne. Elle établit aussi ses liens insoupçonnés avec la métaphysique analytique contemporaine / This PhD dissertation is dedicated to the philosophy of Nelson Goodman (1906-1998). We defend, against most critics, a metaphysical interpretation of Goodman’s works. It will be shown that the latter developed a technical and often overlooked metaphysics, whose pillars are nominalism, pluralism, perdurantism, actualism, and mereological universalism. This reading allows for a critical reevaluation of Goodman’s views. It also brings to light his unexpected links with contemporary analytic metaphysics

S’il n’existe pas d’« objet esthétique », comme l’ont soutenu Genette et Schaeffer, mais simplement des « relations esthétiques », comment définir ce que sont ou ce que font les œuvres d’art ? Un concept élémentaire, présent de façon diffuse dans de nombreux écrits sur l’art, se révèle opératoire : le concept de singularité. La singularité peut expliquer nombre des qualités attribuées aux œuvres d’art, notamment leur capacité maintes fois relevée à arrêter l’attention. Comme l’ont souligné de nombreux penseurs, de Kant à Goodman, l’œuvre d’art tient l’esprit en éveil : dans la relation aux œuvres d’art, écrit ce dernier, « le moteur est la curiosité et le but est d’obtenir des lumières » [Nelson Goodman, Langages de l’art (1968), trad. J. Morizot]. Exigeant que l’attention se porte sur l’objet en tant qu’individu, la singularité met à mal les généralités formulées sur les œuvres d’art, tout en inscrivant chacune d’entre elles dans l’histoire. Pour percevoir et comprendre une singularité, il est nécessaire de connaître le « monde de l’art » contre lequel elle s’affirme : l’établissement d’une généalogie se révèle indispensable. Renversant la logique de l’origine, l’identification de la parenté immédiate d’une œuvre d’art permet de saisir des relations d’identité entrelacées, croisées, mais aussi et surtout ces différences déterminantes grâce auxquelles l’œuvre peut affirmer sa propre singularité… et peut-être de susciter à son tour une descendance. Plusieurs études de cas s’attachent à le montrer - textes sur l’art de Greenberg, Rosenberg ou Judd, et œuvres d’art de Warhol, Levine ou Sehgal –, cherchant à tracer ainsi, de façon généalogique, les voies de la singularité. / If there is no such object as an “aesthetic object”, as Genette and Schaeffer have argued, but only “aesthetic relations”, how to define what an artwork is or does? An elementary concept, present in a pervasive manner in many writings about art, appears to be operative: the concept of singularity. Singularity can explain a lot of the qualities, which are usually assigned to artworks, in particular their ability to draw attention on them. As many authors have emphasized, from Kant to Goodman, an artwork keeps the mind active: in our relation to artworks, writes the latter, “the drive is curiosity and the aim enlightenment”.Given that this sort of attention requires to focus on the object as an individual, singularity jeopardizes the generalities, which are usually stated about artworks, though inscribing each of them in history. In order to perceive and to understand a singularity, it is necessary to know against which “artworld” this singularity asserts itself: an indispensable step seems the establishment of a genealogy. Through reversing the logic of origin, the identification of the immediate relationship of an artwork allows to embrace intertwined identity links, but also, and above all, these decisive differences, which allow the artwork to assert its singularity… and maybe to arouse some descendants. Different case studies make every effort to show it – texts about art written by Greenberg, Rosenberg or Judd, artworks from Warhol, Levine or Sehgal –, trying to trace, along a genealogical path, the roots of singularity.

This analysis of faunal remains from eleven archaeological sites in the northern San Juan region, extensively occupied by the Ancestral Pueblo people until they leave the region by AD 1300, explores the effects of resource intensification of small wild and domestic resources leading up to this regional depopulation. By examining multiple lines of evidence, in addition to faunal abundance, causal factors are identified to address changes in abundances through time. In particular, age- and sex-based mortality are examined for lagomorphs (jackrabbits and cottontails) and domesticated turkey, respectively, to test hypotheses generated using the prey and patch choice models. Analyses of these resources follow a systematic paleontology which provides explicit identifications made of five sites from a large study area, Goodman Point Pueblo Unit. These data are integrated with those from large village sites from the encompassing central Mesa Verde region. The results of both analyses help clarify why the Ancestral Pueblo people left southwestern Colorado. During the final twenty-year occupation period, the results of this study support a shift from reliance on turkey husbandry to intense exploitation of locally available garden resources (i.e. cottontails).

A research report submitted in partial fulfilment of the requirements of the degree of Master of Arts in History of Arts, University of Witwatersrand, Johannesburg / In this research report I look at how the Goodman Gallery has played a role in the construction of cultural capital around the contemporary South African photographer Mikhael Subotzky (1981). Unpacking Pierre Bourdieu’s concept of “cultural capital” (1986: 243), and applying it to the South African art industry, I explore the direct impact that commercial galleries have on the building of artists’ careers through acts that result in the construction of cultural capital, and in what capacity they do this. Little has been written in South African art history about local commercial art galleries, and my interest in the role that they play in the construction of art history stems from my own involvement in this sector, as a commercial art gallery curator. As businesses, these institutions have profitable ambitions, and by successfully promoting the artists they represent, they are affecting the course of South African art history. Due to the potentially vast nature of this subject I have chosen to focus on one contemporary artist, Mikhael Subotzky, and his relationship with the one South African gallery he has been affiliated to throughout his entire professional career, the Goodman Gallery. As much as every person’s life is different, every person’s career is different too, and in this way I cannot use Subotzky’s career trajectory to explain all other contemporary South African artists’ careers, but I do believe that the impact that commercial galleries can have on the cultural capital surrounding artists in South Africa is a topic that should be explored further. I argue that there are various ways of gauging the cultural capital surrounding an artist in the South African art industry, and that one can look at various aspects of an artist’s career and assess their cultural capital. I substantiate this claim in this paper, and indeed why it is important to understand what role the commercial gallery can play in this construction

Aaron Copland¡¦s Clarinet Concerto was written for jazz clarinetist Benny Goodman in 1948. The composition used not only the jazz style of 20s that he had been appreciated, but also the frequent used compositional techniques -- developing and expanding the plain materials that presented into various ways. Moreover, besides the treatment of jazz rhythms, the combination of elements of Brazilian folk song and American popular music were also applied to the Clarinet Concerto. Although ¡§concerto¡¨ has never been the center of Copland¡¦s works, the Clarinet Concerto has taken an outstanding place in the 20th century clarinet repertoire. This is explained by the arrangement of instrumentation, the originality of structure and the techniques of using plain materials. It combines the characteristics of uncomplicated melodies and meanwhile demands challenging performance techniques. This research includes three chapters. The first chapter introduces Copland¡¦s musical career, shifts of style and the illustration of the Clarinet Concerto¡¦s background. The second chapter brings in the discussion of the concerto from three aspects -- structure, musical elements and performance practice. The final chapter deals with the distinctiveness of the Clarinet Concerto.