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This study examines how adult education can facilitate learning towards the full realization of human potential. It synthesizes two theories of human development, and applies this to the practice of community-based adult education carried out by trained facilitators who do not have formal degrees in the field of mental health. The first part of the methodology used modified analytic induction to carry out a synthesis between the works of William Hatcher (1935-2005) and Roberto Assagioli (1888-1974). The second part of the methodology works with the goals, principles, and practices which emerged from the "lens" provided by this synthesis, and applies these to an analysis of the Integrated and Systemic Community Therapy (CT) approach to community-based adult education, in Brazil. The impetus for this study was a desire to move beyond limitations of the humanistic orientation in adult education towards a more holistic theory, which draws on and combines both scientific and spiritual views of human reality. The study theorizes that learning which supports the full realization of human nature should actively seek to a) foster a person's ability to take action in the `outer world' of human social relations (interpersonal dimension) while b) aligning one's `inner world' (intrapersonal dimension) with an emerging implicate order, which is the origin of the structure of reality. Based on its relevance to the expanding Community Therapy approach, the conclusion of the study is that the "lens" of a Hatcher-Assagioli synthesis deserves to be applied and explored further.

The focus of this thesis will be the exploration of the narrative constructs around the life and work of Michelangelo Merisi da Caravaggio (1571–1610). This exploration will occur through the study of selected exhibitions curated on the Lombard artist from the twentieth- through twenty-first centuries. It will demonstrate how museums have played a significant role in the public’s understanding and perception of Caravaggio. In this thesis, I will argue that exhibitions on Caravaggio have supported and reshaped the general understanding and perception of the artist in crucial ways not done to the same effect in more nuanced academic scholarship. I will also argue that public exhibitions have functioned according to a different set of agendas from those addressed to academia. For example, exhibitions are conceived and function on guiding principles such as alignment with museum mission statements, audience draw and accessibility, educational outcomes, and the visitor experience. This thesis will seek to determine to what measure these principles have affected the framing of content and to clarify how in particular the selective use of Caravaggio’s biography has affected interpretation of his works within a museum context for a viewing public. The restored enthusiasm for Caravaggio in the second-half of the twentieth century also focused on his personal life due to the publication and translation by Walter Friedlaender of Lives written by his seventeenth-century biographers—Giorgio Mancini, Giovanni Baglione, and Giovanni Pietro Bellori—as well as the publication of documents and court records, which highlighted episodes of Caravaggio’s criminality, all impinging on our interpretation of his artistic merits. Although these findings support our understanding of Caravaggio as a complex individual, they also contribute to the sensationalization and romanticization of the artist as the quintessentially bohemian figure. Furthermore, doubtful attributions and disputes over execution dates problematize our understanding of the artist’s oeuvre and have at certain points reinforced a ‘Caravaggio narrative’ of the rebellious, indecorous artist. It is my intention to show how museum exhibitions have contributed to and exploited this narrative and to determine more precisely how and to what extent they have shaped it. With this exploration of Caravaggio’s narrative construction by museum exhibitions of the twentieth- to twenty-first centuries, I aim to approach and reconsider this subject, which has been dealt with heavily in scholarship, under a different lens. In the case of Caravaggio—whose persona and works have been posthumously manipulated, admired, and condemned at the hands of biographers and critics—it is necessary to approach this subject with renewed, unbiased, and objective vigor within a new frame of understanding: the museum exhibition frame. I will use a comparative method, studying three key exhibitions over time, to show how museums have presented the artist’s career development. I pay particular attention to the incorporation of biography and to the impact the inclusion of selected aspects of his Lives have had on the public view of his works. The influential format of Giorgio Vasari’s Lives of the Artists set the structure and codified the model of biographical determinism that would inform Caravaggio’s later biographers in the interpretation of his works; this has persisted through the twentieth- and twenty-first centuries with the application of psychoanalytic approaches to Caravaggio. The first of the three exhibitions I have selected is Longhi’s 1951 Milan exhibition, Mostra del Caravaggio e dei Caravaggeschi, which restored public consciousness of Caravaggio’s innovative and revolutionary style, reinserting him into the artistic canon. My second example will be The Age of Caravaggio, held at the Metropolitan Museum of Art in 1985. The Met exhibition is novel for its focus on Caravaggio’s relationship with his precursors and contemporaries (the organizing committee deliberately excluded works by Caravaggio’s followers) and for its interpretation of works within their historical context. Finally, I will examine Caravaggio: L’ultimo tempo 1606–1610, held first at the Museo di Capodimonte, Naples 2004–2005, then later as Caravaggio: The Final Years, at the National Gallery, London in 2005, which focused on the more enigmatic part of Caravaggio’s late career after his flight from Rome in 1606. The London 2005 exhibition provided new insight into the artist’s stylistic changes in the last years of his life. These three exhibitions will give insight about the perception shifts of the artist that have taken place in the twentieth and twenty-first centuries as a result of scholarly research spurred by museum exhibitions centered around Caravaggio. / Art History

A presente pesquisa pretende contribuir para os estudos sobre a formação do campo paisagístico na cidade de São Paulo a partir da década de 1950, com enfoque nas expressões do paisagismo moderno. Para tanto, apresenta a trajetória do paisagista norte-americano Roberto Coelho Cardozo, desde a sua formação na UCBerkeley onde teve contato com o movimento de renovação paisagística que permeava o ambiente cultural e urbano da Costa Oeste dos Estados Unidos,passando pela atuação na docência na FAUUSP - quando inaugura a disciplina de paisagismo no curso de Arquitetura - até a sua produção técnica como paisagista, entre 1950 e 1970. Desde sua chegada a São Paulo até a partida à Inglaterra, na qual apreendeu e transformou os princípios da \"corrente californiana\", fez com que sua obra ganhasse uma modernidade específica, diferente dos outros paisagistas à época.O trabalho coloca a obra de Roberto Coelho Cardozo em perspectiva histórica esperando contribuir para o entendimento das questões relacionadas ao surgimento do campo profissional da Arquitetura Paisagística em São Paulo. / This research intends to contribute to the studies on the formation of the landscape architecture field in the city of São Paulo from the 1950sonwards, focusing on the expressions of modern landscaping. Therefore, we trace the trajectory of the American landscape designer Roberto Coelho Cardozo, since his graduation at UCBerkeley where he had his first contact with the landscape architecture renovation movement thatpermeated the cultural and urban environment of the West Coast of the United States; through his teaching at FAUUSP, introducing the Landscape Architecture discipline; up to his technical production as a landscaper between 1950 and 1970 - from his arrival in São Paulo until his departure to England, period in which he captured and transformed the principles of the Californian modernists, such as Garrett Eckbo and Thomas Church, making his work gain a specific modernity, distinct from other contemporary landscape designers. This analysis brings the work of Roberto Coelho Cardozo into a historical perspective, trying to contribute to the questions concerning the emergence of the Landscape Architecture field in São Paulo.

Este trabalho examina os estudos literários que se seguem, publicados em meados de 1970: A perversão do trapezista: o romance em Cornélio Penna (1976), de Luiz Costa Lima; Verso Universo em Drummond (1975) de José Guilherme Merquior; Ao vencedor as batatas (1977), de Roberto Schwarz; Fundamentos da investigação literária (1974), de Eduardo Portella e Carlos Drummond de Andrade (1976) de Silviano Santiago. Nosso objetivo é investigar de que modo a produção do conhecimento sobre literatura e a produção do valor literário se deram nesses trabalhos, bem como indicar algumas transformações no campo literário naquele período. / This academic work examine the literary studies that follows, all published in the mid-1970s: A perversão do trapezista: o romance em Cornélio Penna (1976), by Luiz Costa Lima; Verso Universo em Drummond (1975), by José Guilherme Merquior; Ao vencedor as batatas (1977), by Roberto Schwarz; Fundamentos da investigação literária (1974), by Eduardo Portella e Carlos Drummond de Andrade (1976), by Silviano Santiago. Our purpose is to investigate how the production of knowledge about literature and the production of literay value is given in this work, as well as indicate somes changes in the literary field in that period.

Esta dissertação consiste em pesquisa sobre virtualidades possivelmente presentes nas teorias que incentivaram as primeiras tentativas de transmissão eletromagnética sem fios em fins do século XIX, reportando também ao deslocamento dessas teorias em direção a outras áreas do conhecimento. Após breve retrospectiva do processo de invenção do rádio - no qual concorreram esforços de diversos pesquisadores como James Clerk Maxwell, David Edward Hughes, Heinrich Rudolf Hertz, Nikola Tesla, Roberto Landell de Moura e Guglielmo Marconi o estudo revê vasta literatura relacionada ao campo da Parapsicologia, tentando encontrar informações mais detalhadas sobre contatos interdimensionais semelhantes aos descritos por Roberto Landell de Moura, Nikola Tesla e Thomas Alva Edison em depoimentos concedidos à mídia impressa no início dos anos 1900. Finalmente, consiste numa fabulação poética a partir desse contexto. / This is a survey of virtual potentialities of the inventions related to the early development of wireless technology at the end of nineteenth century, as well as its recurrence in other areas of knowledge from there onward. After a brief historical review on the radio invention (involving several scientists as James Clerk Maxwell, David Edward Hughes, Heinrich Rudolf Hertz, Nikola Tesla, Roberto Landell de Moura and Guglielmo Marconi) goes into a wider literature review on the parapsychology field wich brings more detailed information on interdimensional contacts as the ones described by Roberto Landell de Moura, Nikola Tesla and Thomas Alva Edison at newspapers and magazines in the early 1900s. As a result this is also a poetical view about this context.

A presente pesquisa pretende contribuir para os estudos sobre a formação do campo paisagístico na cidade de São Paulo a partir da década de 1950, com enfoque nas expressões do paisagismo moderno. Para tanto, apresenta a trajetória do paisagista norte-americano Roberto Coelho Cardozo, desde a sua formação na UCBerkeley onde teve contato com o movimento de renovação paisagística que permeava o ambiente cultural e urbano da Costa Oeste dos Estados Unidos,passando pela atuação na docência na FAUUSP - quando inaugura a disciplina de paisagismo no curso de Arquitetura - até a sua produção técnica como paisagista, entre 1950 e 1970. Desde sua chegada a São Paulo até a partida à Inglaterra, na qual apreendeu e transformou os princípios da \"corrente californiana\", fez com que sua obra ganhasse uma modernidade específica, diferente dos outros paisagistas à época.O trabalho coloca a obra de Roberto Coelho Cardozo em perspectiva histórica esperando contribuir para o entendimento das questões relacionadas ao surgimento do campo profissional da Arquitetura Paisagística em São Paulo. / This research intends to contribute to the studies on the formation of the landscape architecture field in the city of São Paulo from the 1950sonwards, focusing on the expressions of modern landscaping. Therefore, we trace the trajectory of the American landscape designer Roberto Coelho Cardozo, since his graduation at UCBerkeley where he had his first contact with the landscape architecture renovation movement thatpermeated the cultural and urban environment of the West Coast of the United States; through his teaching at FAUUSP, introducing the Landscape Architecture discipline; up to his technical production as a landscaper between 1950 and 1970 - from his arrival in São Paulo until his departure to England, period in which he captured and transformed the principles of the Californian modernists, such as Garrett Eckbo and Thomas Church, making his work gain a specific modernity, distinct from other contemporary landscape designers. This analysis brings the work of Roberto Coelho Cardozo into a historical perspective, trying to contribute to the questions concerning the emergence of the Landscape Architecture field in São Paulo.

Esta dissertação consiste em pesquisa sobre virtualidades possivelmente presentes nas teorias que incentivaram as primeiras tentativas de transmissão eletromagnética sem fios em fins do século XIX, reportando também ao deslocamento dessas teorias em direção a outras áreas do conhecimento. Após breve retrospectiva do processo de invenção do rádio - no qual concorreram esforços de diversos pesquisadores como James Clerk Maxwell, David Edward Hughes, Heinrich Rudolf Hertz, Nikola Tesla, Roberto Landell de Moura e Guglielmo Marconi o estudo revê vasta literatura relacionada ao campo da Parapsicologia, tentando encontrar informações mais detalhadas sobre contatos interdimensionais semelhantes aos descritos por Roberto Landell de Moura, Nikola Tesla e Thomas Alva Edison em depoimentos concedidos à mídia impressa no início dos anos 1900. Finalmente, consiste numa fabulação poética a partir desse contexto. / This is a survey of virtual potentialities of the inventions related to the early development of wireless technology at the end of nineteenth century, as well as its recurrence in other areas of knowledge from there onward. After a brief historical review on the radio invention (involving several scientists as James Clerk Maxwell, David Edward Hughes, Heinrich Rudolf Hertz, Nikola Tesla, Roberto Landell de Moura and Guglielmo Marconi) goes into a wider literature review on the parapsychology field wich brings more detailed information on interdimensional contacts as the ones described by Roberto Landell de Moura, Nikola Tesla and Thomas Alva Edison at newspapers and magazines in the early 1900s. As a result this is also a poetical view about this context.

[pt] O trabalho analisa relatos de memória, escritos poéticos e discursos urbanísticos sobre o Parque do Flamengo, construído no Rio de Janeiro entre os anos 1950 e 1960, para compreender o papel da imaginação e da linguagem em sua criação como artefato cultural na história da cidade. A implementação do plano urbanístico iniciada nos anos 1950 foi reelaborada na década de 1960, durante o Governo de Carlos Lacerda pelo Grupo de Trabalho, equipe multidisciplinar coordenada por Lota Macedo Soares e tendo à frente o arquiteto Affonso Eduardo Reidy e o paisagista Roberto Burle Marx. O jardim modernista carioca por eles projetado – obra paisagística e arquitetônica desdobrada em ambiente edificado, suas imagens e os discursos produzidos sobre ele – ganha significado na tese como forma cultural que articulou interpretações conflitantes da história expressas na cidade; que relacionou motivos míticos e históricos do jardim e da paisagem com métodos paisagísticos modernos; e que interconectou memórias e projeções de uma cidade imaginada. Entre os registros dessa obra coletiva, destaca-se a poesia de Elizabeth Bishop que recria as paisagens locais em novas imagens. Imaginar a cidade é ato poético, político e ético de seus habitantes, sempre um intercâmbio entre a dimensão subjetiva e a dimensão social. É a forma moderna de habitá-la: construí-la como cidade metafórica que conecta a experiência fugaz, fragmentária e conflituosa da vida metropolitana a alternativas possíveis de como as coisas poderiam ser. / [en] This work examines memory narratives, poetical writings and urbanistic discourses about the Parque do Flamengo, built in Rio de Janeiro during the 1950s and 1960s, in order to understand the role of imagination and language in its construction as a cultural artefact in the city s history. The implementation of this urban plan was started in the 1950s and was reworked in the 1960s, during the Government of Carlos Lacerda by Grupo de Trabalho, a multidisciplinary team coordinated by Lota Macedo Soares and headed by the architect Affonso Eduardo Reidy and the landscape architect Roberto Burle Marx. This modernist carioca garden – an architectural and landscape work threefold unfolded as a constructed environment, its images, and the accompanying critical discourses – gains importance in this thesis as a cultural artefact that brought together conflicting interpretations of history expressed in the city; entailed mythical and historical motives from garden and landscape to modern landscaping methods; and was the very fabric of memories and projections of an imagined city. Among others historical records of this collective work, the poetry of Elizabeth Bishop recreates the local landscapes in new images Imagining the city is a poetic, political and ethical act of its inhabitants, ever an exchange between subjective and social dimensions. It is the modern way of inhabiting the city: building it as a metaphorical city that links the fleeting, fragmentary and conflicting experience of urban life to possible alternatives of the way things could be.