G. R. S. Mead is an important but neglected historical personality of the British fin-de-siècle occult, Theosophical, and post-Theosophical milieu. While previous scholars of Theosophy have portrayed the Theosophical movement as quite cohesive in nature, I argue that it might have been a lot more pluralistic, with ostensibly key Theosophical concepts being open for debate. By a careful study of Mead’s editorial activity, his debates with other Theosophists in leading occultist journal over the period 1890s through 1910s, I illustrate that Mead held alternative views of key Theosophical concepts. This gives us a clue as to how the movement of Theosophy can be characterized differently. I suggest that we speak of many different “Theosophies” rather than one singular “Theosophy” to better capture the seemingly diverse makeup of the Theosophical movement. I look at three areas wherein Mead’s views differed from those of other important Theosophists: the concept of “the Masters” as spiritual authority, which sources to turn to and how to interpret them, and the question of whether occultism should be understood primarily in theoretical or in practical terms. I propose that by seeing Theosophy as a debating ground where many different Theosophists competed over the definition of their particular kind of Theosophy, we might also better account for why so many post-Theosophical currents emerged. Lastly, Mead’s concept of “Gnosis” might have served as a bridge between his Theosophical and post-Theosophical periods, as the concept’s meaning, along with Mead’s spiritual outlook, does not appear to have changed over time. This gives some consequences to how we conceive of post-Theosophy, since he does not fit neatly within that category.

The larger architectural context of cities must be understood in order to effectively design buildings. If a building ignores its surroundings, it will not hold up to time and will adversely affect the city in which it stands. This can be seen in multiple of disarrayed cities and their commercial-driven building inventory. So, what makes a good city stand out, and how can this be applied to buildings? There are the four basic principles designers and planners seemed to have forgotten. The first is the layout of basic city components and their influence on current and future identity. The second is the aesthetic principles of scale and proportion. Choosing appropriate material permanence to your location is also important because it enhances or subtracts from the city’s identity. And finally, the experience of the observer must be impactful. If these principles are applied correctly and harmoniously, they can effectively heal the conflicting issues of transportation, pedestrian access, social venues, historic reverence and much more. But most importantly, they can be applied to buildings. Buildings can individually initiate the healing of an urban fabric if they are cognizant to their surroundings. Therefore in this thesis, I want to apply these four basic principles in the rehabilitation of a malfunctioning junction in my hometown of Helena, Montana. By designing a singular building with a guiding master plan, I hope to stimulate a chain reaction. This transformation would take the current issues and interweave these principles into an effective solution that will not only revitalize the area but also become a tourist destination.

Esta dissertação trata da avenida Farrapos, uma das principais radiais da cidade de Porto Alegre. Embora inaugurada no ano de 1940, desde 1914 já existia como proposta. Estava inserida no contexto de mudanças ocorridas em Porto Alegre que tinham por objetivo modernizar a cidade, adaptando-a às novas exigências. Apesar de sua importância e do patrimônio arquitetônico que nesta se encontra, a avenida Farrapos não recebe a atenção que merece visto que aquela área da cidade sofreu um processo de degradação, que resultou no repúdio da maioria das pessoas. Neste estudo, buscou-se resgatar elementos históricos, urbanos e arquitetônicos da referida via, a fim de resgatar a sua importância e identificar em que aspectos esta foi resultado da “modernidade”.

Esta dissertação trata da avenida Farrapos, uma das principais radiais da cidade de Porto Alegre. Embora inaugurada no ano de 1940, desde 1914 já existia como proposta. Estava inserida no contexto de mudanças ocorridas em Porto Alegre que tinham por objetivo modernizar a cidade, adaptando-a às novas exigências. Apesar de sua importância e do patrimônio arquitetônico que nesta se encontra, a avenida Farrapos não recebe a atenção que merece visto que aquela área da cidade sofreu um processo de degradação, que resultou no repúdio da maioria das pessoas. Neste estudo, buscou-se resgatar elementos históricos, urbanos e arquitetônicos da referida via, a fim de resgatar a sua importância e identificar em que aspectos esta foi resultado da “modernidade”.

Esta dissertação trata da avenida Farrapos, uma das principais radiais da cidade de Porto Alegre. Embora inaugurada no ano de 1940, desde 1914 já existia como proposta. Estava inserida no contexto de mudanças ocorridas em Porto Alegre que tinham por objetivo modernizar a cidade, adaptando-a às novas exigências. Apesar de sua importância e do patrimônio arquitetônico que nesta se encontra, a avenida Farrapos não recebe a atenção que merece visto que aquela área da cidade sofreu um processo de degradação, que resultou no repúdio da maioria das pessoas. Neste estudo, buscou-se resgatar elementos históricos, urbanos e arquitetônicos da referida via, a fim de resgatar a sua importância e identificar em que aspectos esta foi resultado da “modernidade”.

Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2004Bitstream added on 2014-06-13T19:48:50Z : No. of bitstreams: 1 martini_frs_me_ia.pdf: 6530425 bytes, checksum: 488d5f2b90e42c9541ceaf8ee9505801 (MD5) / Universidade Estadual Paulista (UNESP) / Nos anos 1960 a 1980, alguns artistas seguiram na contramão da chamada arte de vanguarda ou da arte dos ismos, pintando principalmente casarios - seqüências de casas geminadas, freqüente no estilo arquitetônico colonial brasileiro - um assunto empregado em determinadas pinturas de paisagens urbanas. O tema foi amplamente consumido, ainda que possa ter sido considerado ultrapassado no período. Os artistas viveram de sua arte e participavam ativamente das exposições promovidas pelas principais galerias e mostras oficiais, assim como dos leilões de arte fomentados pelos mais importantes leiloeiros. Até o pesente, a pintura referente à atmosfera colonial é mencionada nos cursos de arte, prossegue comercialmente viável e é explorada nas grandes mostras. A nossa investigação partiu da proposta de valorização e do resgate do tema, observando a produção de alguns artistas paulistas, os quais constituíram o 'Grupo Tapir'. Através do cenário artístico paulista, inserimos os nomes dos mestres responsáveis pela formação do grupo. Esboçamos uma biografia dos cinco integrantes do 'Grupo Tapir' e a respectiva análise de suas obras a partir dos preceitos de iconografia de Erwin Panofsky (1892-1968), em Significado das Artes Visuais. Buscamos assim definir os valores perceptivos simbólicos, expressivos e emocionais dos casarios, como obra de arte no contexto da pintura de paisagens, relecionando os devaneios e sonhos relativos aos significado das casas, segundo as obras filosóficas de Gaston Bachelard (1884-1962). / From 1960 to 1980 some artists followed the wrong way in the called vanguard art or the art of the 'ismos', painting mainly casarios - sequence of houses, constantly old a topic used in cetain urban landscape's paintings. The theme was throughly consumed, however it can be considered outdated in the period. The artists lived their art and participated actively of the exhibitions promoted by the main galleries and official shows, as well as the auctions fomented by the most important auctioneers. Until now, the painting regarding the colonial atmosphere is reference in the art courses, it continues commercially viable and it is explored in the great displays. Our investigation began with the proposal of valorization and rescue of the theme, observing some artist's production fom São Paulo production, who constitued the Group Tapir. Through the paulista artists scenery we insert the responsible masters name for the formation of gourp.Sketched a biography about the five members of Group Tapir and athe respective analysis of their works starting from the iconography deductions of Erwin Panofsky(1892-1968), in Meaning in the Visual Arts. With this, we intend to define the perceptive, symbolic, expressive and emotional values of the casarios, as work of art in the context of the landscape's painting relating the dream and the relative dreams to the meaning of the houses, according to the philosophical works of Gaston Bachelard (1884-1962).

The objectives of the submitted diploma work are to give an overview of the therapeutics{\crq} psychotherapy styles and their feelings about the psychotherapy in general. The work also shows the circumstances which directed them to be the therapeutics. In connection with that the work analyzes also the evolution and, above all, the present situation in the psychotherapy in the Czech Republic. Finally the work summarizes therapeutics{\crq} opinion about the integration in the psychotherapy according to the style they practicing. Theoretical part of the diploma work introduces twelve psychotherapy styles which are commonly use in the Czech Republic. All styles are presented by short historical development and the practical application in our country. Information for the practical part of the diploma work were obtained by interviewing the therapeutics, the interviews were recorded, consequently rewrote and authorized by the therapeutics. The main contribution of the diploma work is the comparison of the therapeutics{\crq} opinions, partly consistent but some time also very different, what is appeared in the interviews. The interviews it self were spitted to the four groups, according to the topics: Knowledge and experiences of the therapist, Common active factors and the efficiency in the psychotherapy, Integration in the psychotherapy and Critique of the psychotherapy.

本論文はイギリス20世紀のカトリック作家イーヴリン・ウォー(Evelyn Waugh)(1903-66)の後期作品、主に1940-1960年代に書かれた小説について論じるものであり、とりわけ、彼の最後の作品である『名誉の剣』三部作(the Sword of Honour trilogy)を中心に考察する。本論の考察の目的は、作品が書かれた時代のイギリス社会とウォーの作品との関連性、そして彼が希求した、キリスト教徒としての召命のテーマを探ることである。 / This dissertation is on Evelyn Waugh's (1903-66) later novels, written from 1942, through the Second World War, to 1965, especially on his last ones, the Sword of Honour trilogy. With discussions focusing on the relationship of Waugh's works with British society of the same period, this thesis clarifies the theme of vocation, which is observed in most of his novels. / 博士(英文学) / Doctor of Philosophy in English Literature / 同志社大学 / Doshisha University