This dissertation is a theoretical and interpretative exploration of the prominent themes which are developed in the novel Die olifantjagters by Piet van Rooyen. The study focuses on the spatial aspects of the narrative and attempts to indicate how the novel contributes to the contemporary discourse on ecology and eco-critique. In the analysis of spatiality in the novel, special attention is paid to the dimension of Africa and African ecological issues. These include the typical ecological problems of developing countries, the Western presence in Africa and the dilemma of the indigenous people such as the Bushmen in a rapidly changing environment. Centering around the hunt on one of the last great elephants, the novel is deeply concerned with conservation of natural resources and related issues. The multi-cultural social structures of Southern African countries and the problems arising from cultural interaction, form an integral part of the novel and these are discussed extensively in the dissertation. In addition, the identity crises which the characters experience as a result of the processes of cultural interaction and environmental change, are explored against the backdrop of the political transformation of the subcontinent. Issues of identity are concerned with individual as well as group dynamics and almost the characters are thus involved in the redefinition of their own roles and their places in the world. Colonialism has been replaced by postcolonial ism, but power struggles continue to plague previously colonized countries such as South Africa and Namibia. The novel deals with this situation by depicting the conflicting ideas and ideals of people from developed countries who intend to do good and the viewpoints of the indigenous people of Africa. The novel presents a fresh and honest view of the contemporary situation in Southern Africa and thus contributes to the discourse on post-colonialism ecology, cultural change and the ways in which change affects identity, human relationships and the relation between man and Nature. An interpretation of Die olifantjagters therefore needs to take cognisance of Eco criticism, the debate on post colonialism and the dynamics of the power struggle. In conclusion, the contribution of literature to the contemporary ecological discourse is indicated. In spite of the fact that the novel is part of Western discourse in Africa and as such also part of the system of power relations in modern society, it does highlight the "green issue" and this novel will most probably lead to a greater awareness of ecological issues. / Thesis (M.A. (Afrikaans and Dutch))--Potchefstroom University for Christian Higher Education, 2001

This dissertation is a theoretical and interpretative exploration of the prominent themes which are developed in the novel Die olifantjagters by Piet van Rooyen. The study focuses on the spatial aspects of the narrative and attempts to indicate how the novel contributes to the contemporary discourse on ecology and eco-critique. In the analysis of spatiality in the novel, special attention is paid to the dimension of Africa and African ecological issues. These include the typical ecological problems of developing countries, the Western presence in Africa and the dilemma of the indigenous people such as the Bushmen in a rapidly changing environment. Centering around the hunt on one of the last great elephants, the novel is deeply concerned with conservation of natural resources and related issues. The multi-cultural social structures of Southern African countries and the problems arising from cultural interaction, form an integral part of the novel and these are discussed extensively in the dissertation. In addition, the identity crises which the characters experience as a result of the processes of cultural interaction and environmental change, are explored against the backdrop of the political transformation of the subcontinent. Issues of identity are concerned with individual as well as group dynamics and almost the characters are thus involved in the redefinition of their own roles and their places in the world. Colonialism has been replaced by postcolonial ism, but power struggles continue to plague previously colonized countries such as South Africa and Namibia. The novel deals with this situation by depicting the conflicting ideas and ideals of people from developed countries who intend to do good and the viewpoints of the indigenous people of Africa. The novel presents a fresh and honest view of the contemporary situation in Southern Africa and thus contributes to the discourse on post-colonialism ecology, cultural change and the ways in which change affects identity, human relationships and the relation between man and Nature. An interpretation of Die olifantjagters therefore needs to take cognisance of Eco criticism, the debate on post colonialism and the dynamics of the power struggle. In conclusion, the contribution of literature to the contemporary ecological discourse is indicated. In spite of the fact that the novel is part of Western discourse in Africa and as such also part of the system of power relations in modern society, it does highlight the "green issue" and this novel will most probably lead to a greater awareness of ecological issues. / Thesis (M.A. (Afrikaans and Dutch))--Potchefstroom University for Christian Higher Education, 2001

Master of Music / School of Music, Theatre, and Dance / Anna Marie Wytko / Ingolf Dahl’s Concerto for Alto Saxophone and Wind Orchestra is considered a master concert work in saxophone literature. The work was written for saxophone pioneer Sigurd Rascher who was active in commissioning new works for the instrument. Piet Swerts’ Klonos, composed over 40 years after Dahl’s Concerto, is a much newer composition. The work has gained national recognition as a popular competition piece and is a synthesis of new and old compositional styles. These two works strongly showcase the flexibility and virtuosity capable of the skilled saxophonist. This master’s report, presented as extended program notes, includes biographical information about the composers, a historical and stylistic overview of the selected compositions, and a harmonic and formal analysis of the music with respect to performance considerations.

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2017-04-25T20:17:33Z No. of bitstreams: 1 2016 - M?rian de Sousa Rodrigues.pdf: 853172 bytes, checksum: 273f598abae5754f06db3a76603b4309 (MD5) / Made available in DSpace on 2017-04-25T20:17:33Z (GMT). No. of bitstreams: 1 2016 - M?rian de Sousa Rodrigues.pdf: 853172 bytes, checksum: 273f598abae5754f06db3a76603b4309 (MD5) Previous issue date: 2016-08-31 / CAPES / The process of teaching and learning in the disciplines of Arts and Mathematics in the Elementary School faces a number of diffculties. These difficulties experienced by teachers and students in the school context emphasize the need to rethink the pedagogical practices involving these disciplines. The purpose of this paper is to discuss interdisciplinary possibilities of Arts and Mathematics, recognizing in particular the contributions that such an approach can help in Geometry learning in Elementary School. For this analysis was used the work "Composition in Red, Yellow and Blue" of artist plastic Piet Mondrian as starting point for developing a pedagogical activity that promotes dialogue between Art and Geometry. Through the image reading process and discussion of geometric concepts, we propose a pedagogical activity for the 6th year of Elementary School. In a complementary character and qualitative look, we apply the proposed activity to a group of students of this series of the Escola Municipal Tatiana Chagas Mem?ria, from the municipal education network of the city of Rio de Janeiro. / O processo de ensino e aprendizagem das disciplinas de Artes e Matem?tica no ?mbito do Ensino Fundamental enfrenta uma s?rie de difculdades. Essas dificuldades vivenciadas por professores e alunos no contexto escolar enfatizam a necessidade de repensarmos as pr?ticas pedag?gicas que envolvem essas disciplinas. A proposta deste trabalho ? refletir sobre possibilidades interdisciplinares entre Artes e Matem?tica, reconhecendo, em particular, as contribui??es que uma abordagem deste tipo pode auxiliar no aprendizado de Geometria no Ensino Fundamental. Para isso foi utilizada a an?lise da obra ?Composi??o em Vermelho, Amarelo e Azul? do artista pl?tico Piet Mondrian como ponto de partida para elabora??o de uma atividade pedag?gica que promovesse o di?logo entre Artes e Geometria. Atrav?s do processo de leitura de imagem e da discuss?o de conceitos geom?tricos, propomos uma atividade pedag?gica voltada para o 6? ano do Ensino Fundamental. Em car?ter complementar e com um olhar qualitativo, aplicamos a atividade proposta a um grupo de alunos dessa s?rie da Escola Municipal Tatiana Chagas Mem?ria, da rede municipal de educa??o da cidade do Rio de Janeiro.

For almost 35 years the work carried out by the Brazilian artist Lygia Clark between the 1950s and until her death, in 1988, has attracted the attention of both Brazilian and European scholars and critics. Since special attention has only been given to her post-1969 work, the work carried out until 1969 has been overlooked. In particular, I would argue that through the incorporation of the human body Clark's 1959-1964 Bicho series is the first spatial performative strategy developed by Clark during the 1960s and against which all her subsequent production needs to be read. / The present essay is thus an attempt to read as spatial performative strategies Clark's Bicho series with and against the Brazilian reception of Mondrian, reception which, as I would argue has been overlooked in the context of her work. Furthermore, I would argue that in order for us to better understand how the Bicho series unfold as spatial performative strategies the Brazilian reception of Mondrian must be approached through the Brazilian reception of Merleau-Ponty's phenomenology and political and cultural movements of the time. While the role played by Merleau-Ponty's incorporation of the human body in Clark's work has not been closely examined, Clark's engagement with the political and cultural movements of her time has been underestimated. I would argue that any attempt to give an account of Clark's practice needs to take into consideration the role these three aspects played in her engagement with the problem of representation.

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Piet Mondrian, one of the most significant representatives of modern abstract art, applied himself, aside from his own art work, to writing of theoretical texts. In his essays, he did not advocate for his own paintings, neither did he manifest any particular art movement. In these texts, one can trace rather general aesthetically-theoretical reflection on art, on the development of our world and on the position of a man in modern society. This thesis introduces Mondrian's comprehensive conception of art in light of aesthetics and the philosophy of art. It touches on the substance and function of art, on artistic means, on the role of an artist and on the meaning of art related to society and its development. The thesis focuses on the bases of Mondrian's theory and its influences. In addition, it presents various ideas of other contemporary avant-garde movements that somehow inspired Mondrian and that, together with his conception of art, create a certain context of the artistic atmosphere of the first half of the 20th century. The thesis draws from Mondrian's original texts that have, in most cases, not been translated into Czech, yet.

Aquesta tesi explora els orígens de la pintura abstracta des d'un punt de vista eminentment conceptual. Parteix de la hipòtesi que l'abstracció es pot considerar la culminació dels ideals estètics del Simbolisme finisecular; i considera que un dels elements de continuïtat entre Simbolisme i abstracció fou l'ideal de l'obra d'art total o Gesamtkunstwerk. La tesi estudia els pintors Vassily Kandinsky i Piet Mondrian per mostrar, a través de l'anàlisi de les seves obres i textos, que aquest ideal d'obra total fou per ambdós un leit-motiv fonamental en la seva evolució vers l'abstracció. En el cas de Kandinsky s'estudien especialment les seves composicions escèniques, i en el cas de Mondrian, l'arranjament del seu estudi, projectes en el marc dels quals es va desenvolupar la seva pintura. En ambdós casos, com també en el Simbolisme, el projecte de l'obra d'art total es considera tant des de la vessant artística, com en relació al seu valor utòpic. / This thesis explores the origins of abstract painting from a predominantly conceptual point of view. It begins with the hypothesis that abstraction may be considered as the culmination of the aesthetic ideals of turn of the century Symbolism, and considers that one of the elements of continuity between Symbolism and abstraction was the ideal of the total work of art, or Gesamtkunstwerk. The thesis studies the painters Wassily Kandinsky and Piet Mondrian to show, through analysis of their works and texts, that this idea of the complete artwork was a fundamental leitmotif for both artists in their evolution towards abstraction. In the case of Kandinsky, it studies in particular his scenic compositions and, in the case of Mondrian, the layout of his studio, the framework within which their painting was developed. In both cases, as in Symbolism, the project of the total work of art is considered as much from the artistic viewpoint as in relation to its utopian value.

Nossa pesquisa tem por enfoque o estudo da poética de João Cabral de Melo Neto (1920- 1999) comparativamente a obras dos pintores Piet Mondrian (1872-1944) e Joan Miró (1893- 1983). Tentamos entender, através do perfil criador dos dois pintores e também daquilo que o poeta destacava esteticamente neles, o quanto tais preceitos estéticos são literariamente discutidos na obra cabralina e o quanto (e como) eles caracterizariam ou não a poética desse escritor pernambucano. Para tanto, escolhemos a fase inicial do poeta, dando preferência aos livros Psicologia da Composição e Uma faca só lâmina. Com o estudo dessas obras e daquilo que de forma esparsa está presente também em outros livros, alcançamos, por exemplo e grosso modo, que a poesia de João Cabral, destacadamente arquitetada no amparo do objeto (num perfil de depuração), apresenta ainda com relevo o trabalho com a imagem (num perfil de reconfiguração). No primeiro caso, enxergamos uma proximidade à estética de Mondrian; no segundo, à de Joan Miró. Por fim, verificamos como a poesia de Cabral, aparentemente apenas rígida, é destacada também por certas dinâmicas que lhe rompem a rigidez. / Our research aims to study the work of the Brazilian writer João Cabral de Melo Neto in comparison to some paintings of the Dutch painter Piet Mondrian and of the Catalan painter Joan Miró. By means of the discussion about both the creative model of the two painters and what João Cabral focuses aesthetically on them, we try to comprehend how these aesthetic principles are literarily debated by the poet and how they would characterize or wouldnt his poetic. For this reason, we have selected the Poets initial phase, mainly the books Psicologia da Composição [Psychology of the Composition] and Uma faca só lâmina [One knife that is nothing but blade]. By the study of these two books, we can observe that João Cabrals poetry is not only architected out of the object (in a model of depuration) but also out of the image (in a model of reconfiguration). In the first case, we see proximity between João Cabrals aesthetics and Mondrians one, and in the second case we see proximity between João Cabrals aesthetics and Mirós one.