Thesis (M. Arch.)--University of Tennessee, Knoxville, 2009. / Title from title page screen (viewed on Mar. 11, 2010). Thesis advisor: William Rudd. Vita. Bailey appendix II.pdf (18364 KB) link located at bottom of [Article summary page]. Includes bibliographical references.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-30T19:52:42Z No. of bitstreams: 1 MESTRADO PAULA FRAGOSO MATTOS UFBA MINTER 24062014.pdf: 13163098 bytes, checksum: 72aa3e558df99f723bde7700f1400e9a (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:18:48Z (GMT) No. of bitstreams: 1 MESTRADO PAULA FRAGOSO MATTOS UFBA MINTER 24062014.pdf: 13163098 bytes, checksum: 72aa3e558df99f723bde7700f1400e9a (MD5) / Made available in DSpace on 2018-09-11T13:18:48Z (GMT). No. of bitstreams: 1 MESTRADO PAULA FRAGOSO MATTOS UFBA MINTER 24062014.pdf: 13163098 bytes, checksum: 72aa3e558df99f723bde7700f1400e9a (MD5) / O presente trabalho constrói uma análise do funcionamento da economia da cultura e da criatividade no campo teatral em Alagoas, tendo como objetivo investigar se a inserção Escola Técnica de Artes no Programa de Incubadora de Empresas existente na Universidade Federal de Alagoas (UFAL) pode vir a constituir, de fato, uma ação positiva como estratégia empreendedora e de consolidação do exercício profissional entre os agentes ligados ao universo teatral, sobretudo os atores formados pela Escola. Para determinar a validade desta hipótese, será empregada a metodologia de pesquisa direta em fonte primária, sendo adotados como parâmetros de avaliação o estudo do perfil do aluno ingresso no curso técnico em Artes Dramáticas e a sua relação com o histórico de criação e gestão da Escola técnica de Artes, no contexto de seus equipamentos culturais e projetos. O trabalho apresenta ainda reflexões sobre o perfil empreendedor dos profissionais do teatro alagoano fundamental para trabalhar por meio de incubadoras culturais, assim como, a apresentação das capacidades, habilidades, comportamentos e procedimentos necessários para este modo de produção teatral. / This work builds upon a functional review of the economics of culture and creativity in the theatrical field in Alagoas, aiming to investigate whether the insertion of Technical School of Arts Program in the Business Incubator hosted by the Federal University of Alagoas (UFAL) could both constitute a positive enterpreneurial action as well as a consolidation of professional practice among agents of the local theatrical universe, with emphasys on actors trained by the school itself. To determine the validity of this hypothesis, a methodology of direct research is used, aiming to conduct the research towards the primary cultural sources, which were adopted as parameters for evaluating the profile of the incoming students in Arts, in order to understand its relation with the history of creation and management of Technical School of Arts and in the context of its cultural facilities and projects. The research conducted in this work shows that the entrepreneurial traits of the local professional theater is an enabler to the theatrical production through cultural incubators, being aligned with most of the capabilities, skills, behaviors and procedures required for this mode of theater production.

Submitted by (lucia.rodrigues@ufrpe.br) on 2016-06-17T13:16:44Z No. of bitstreams: 1 Wendell Rodrigues Costa.pdf: 1893651 bytes, checksum: 0200c0289e0f82e9f533f37a96edc663 (MD5) / Made available in DSpace on 2016-06-17T13:16:44Z (GMT). No. of bitstreams: 1 Wendell Rodrigues Costa.pdf: 1893651 bytes, checksum: 0200c0289e0f82e9f533f37a96edc663 (MD5) Previous issue date: 2013-05-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work aims to understand why and how the Society of Mechanical Artists and Liberals sought to promote the development of the teaching of crafts in Pernambuco. To do so, we proceeded to an analysis of the Society of the Artists, from its formation to its commitment to manage the School of Arts and Crafts (Liceu de Artes e Ofícios). The analytical course proved to be the Society of Artists not only the beneficiary of the public funds to finance the activities of the School, but also left some visible conflicts arising from the relationship of Society with the government - in the person of the inspector - and with some partners and students. The first question was to know how the leaders of the Society took care of the public funds to manage the School. Then, we tried to understand why, in many situations, the officers asked the government to extinguish the post of inspector of the School of Arts and Crafts. This present research approaches the theoretical perspective proposed by the French philosopher Michel Foucault, due to his large study on biopower and the effect on the discipline. With the foucauldian concept of biopower, it was possible to understand the position of the Brazilian State as manager of the society. The dissertation was drawn from the analysis of sources such as documents of the Society of the Mechanical Artists and Liberals and reports relating to the supervision of the School of Arts and Crafts. The clipping researched is between 1880 to 1908, covering the period since the inauguration of the School of Arts and Crafts till the end of the inspection of the inspector Francisco Augusto Pereira da Costa. With the survey, we could understand that the inspection directed to the Society of the Artists had the intention to make the School provide to the working classes a vocational training that would meet the labor market. From the research procedures and the results obtained, it is evident that despite the conflicts in which they became involved, the Society of Artists bequeathed to Brazil from the First Republic, through the School of Arts and Crafts, an educational establishment that resting in the pedagogy of work, produced a workforce able to meet the sectors of industry and commerce. / Este trabalho objetiva compreender por que e de que forma a Sociedade dos Artistas Mecânicos e Liberais procurou promover o desenvolvimento do ensino de ofícios em Pernambuco. Para isso, procedeu-se a uma análise da Sociedade dos Artistas, desde a sua formação até o seu empenho em administrar o Liceu de Artes e Ofícios. O percurso analítico revelou ser a Sociedade dos Artistas não só beneficiária de verbas públicas para financiamento das atividades do Liceu, mas também deixou visíveis alguns conflitos surgidos do relacionamento da Sociedade com o governo – na pessoa do fiscal – e com alguns sócios e alunos. A primeira questão foi saber como os dirigentes da Sociedade cuidavam das verbas públicas para administrar o Liceu. Em seguida, procurou-se entender por que, em diversas situações, os diretores pediam ao governo que extinguisse o cargo de fiscal do Liceu de Artes e Ofícios. A presente pesquisa aproxima-se da perspectiva teórica proposta pelo filósofo francês Michel Foucault, em virtude de seu largo estudo sobre o biopoder e, por efeito, sobre a disciplina. Com o conceito foucaultiano de biopoder, foi possível entender a posição do Estado brasileiro como gestor da sociedade. A dissertação foi elaborada a partir da análise de fontes como os documentos da Sociedade dos Artistas Mecânicos e Liberais e os relatórios referentes à fiscalização do Liceu de Artes e Ofícios. O recorte pesquisado se dá entre 1880 a 1908, porquanto abrange o período da inauguração do Liceu de Artes e Ofícios até o final da inspeção do fiscal Francisco Augusto Pereira da Costa. Com a pesquisa realizada, pôde-se compreender que a fiscalização dirigida à Sociedade dos Artistas intencionava fazer com que o Liceu proporcionasse às classes operárias uma formação profissional que atendesse ao mercado de trabalho. A partir dos procedimentos de pesquisa e dos resultados obtidos, fica evidente que, apesar dos conflitos nos quais se viu envolvida, a Sociedade dos Artistas legou ao Brasil da Primeira República, por meio do Liceu de Artes e Ofícios, um estabelecimento educacional que, repousando na pedagogia do trabalho, produziu uma mão de obra capaz de atender aos setores da indústria e do comércio.

Syftet med denna studie har varit att undersöka på vilket sätt Learning study kan fungera som modell för att utveckla kollegialt lärande och bidra till utbyte av erfarenheter mellan lärare i kommunal musik- och kulturskola. För att undersöka detta har ett arbetslag bestående av fyra gitarrlärare vid en kommunal musikskola fått genomföra en gemensam Learning study, med författaren som handledare. I studien användes en kombination av observation och intervju som metod för att följa arbetet och ta del av de deltagande lärarnas upplevelse av Learning study. Resultatet visade att det, genom att använda modellen Learning study, skapades kollegiala samtal och erfarenhetsutbyten som de deltagande lärarna knappt upplevt tidigare, trots lång erfarenhet i yrket. Likaså är ett resultat att modellen inspirerat lärarna till att prova nya idéer i den egna undervisningen. / The purpose of this study was to investigate how Learning Study can act as a model for developing collegial learning and contribute to experience-sharing between teachers in the Community School of Arts and Music. In order to investigate this, four guitar teachers at a Community School of Music has participated in a joint learning study, with the author as a researcher/facilitator. To evaluate the process and taking part of the participating teachers’ experience of learning study a method combining observation and interview was used. The result shows that by using the learning study method a kind of collegial conversations and experience-sharing was created, which the participating teachers had not experienced before. It also inspired the teachers to try new ideas in their own teaching.

Detta arbete är en observationsstudie av gruppundervisning i fiol och altfiol vid kulturskolan. Till undersökningsobjekt valdes gruppundervisning i fiol och altfiol. Båda instrumenten har en lång tradition av individuell undervisning men även gruppundervisning i ensembleform, inte sällan kombinerad vilket vill säga individuell lektion och ensemblelektion. Syftet med studien var att undersöka hur formen och strukturen för en sådan undervisning kan se ut och hur elever och lärare fungerar tillsammans i undervisningen. Studien har en multimodal socialsemiotisk och etnografisk metodologisk ansats och använder dessa i en kombination i valet av metod, vilket genomförts genom observation av undervisning samt transkription av utvalda delar som spelats in med ljud och bild. Observatören har haft närvarande men i första hand inte deltagande roll i undervisningen. Två kulturskolor där fiolundervisningen har en lång och stark tradition valdes ut och några av stråkpedagogerna vid dessa kulturskolor valde att delta i studien. Resultatet visar att formen för undervisningen byggde på principen att härma läraren och att läraren hjälpte eleven att justera och placera instrumentet samt att sång eller ramsor användes för rytminlärning. Skillnader kunde identifieras mellan undervisning i större och i mindre grupp både till form och struktur samt hur individerna interagerade, kommunicerade och tillämpade lärande av varandra. Resultatet ger en inblick i hur gruppundervisning i fiol och altfiol vid två kommunala kulturskolor i Stockholms län kan fungera och är ett tillskott till fortsatt forskning om gruppundervisning i kulturskolan. / This thesis is an observational study regarding group education in violin and viola at the Swedish Municipal School of Arts. As an object of study, group teaching in violin and viola was chosen. Both instruments have a long tradition of individual teaching, but also group teaching in ensemble form, not seldom combined, which means an individual lesson and an ensemble lesson. The purpose of the study was to investigate the form and structure of such group education and to get a closer look at how pupils and teachers interacted in that form of teaching. The study has a multimodal social semiotic and ethnographic methodological approach, and investigate through a combination of these, implemented through observation of teaching as well as transcription and analysis of selected parts recorded in audio and video. The observant was present but was not participating in the teaching process. Two municipal schools of arts, where the violin and viola education has a long and substantial tradition, were selected, and some of the teachers at these schools were chosen to participate in the study. The results show that the education formed the way that the pupil mimicked the teacher, that the teacher often helped the pupils to adjust and place the instrument, and that singing or different frames was used for rhythm learning. Differences were identified regarding teaching in bigger versus smaller groups by form and structure as well as how the participants interacted, communicated and applied knowledge from each other. The result gives an insight into how group teaching in violin and viola at two municipal schools of arts in Stockholm might function, and contributes to further research regarding group education.

The thesis deals with the exploration and deeper understanding of the problems of relations personality typology and style of management of executives in the Czech education system, ie directors, from the perspective of self-concept. The purpose is to ascertain existence of a relationship between personality characteristics and the manner of school management. What typology director of the Czech education system can be considered effective in relation to the management of educational institutions such as the Czech school and whether this environment calls for a new, own typology. Based on the theoretical background and knowledge dealing with the personality and different theories about its typology, managerial approach to the school principal in the Czech Republic, management styles, the typology of the existence of related areas. The survey will be a combination of forms, in the form of a questionnaire in the form of semi-structured interviews. The basic research sample are directors of art schools of the Czech Republic.

The final thesis is focused on a new building of School of arts in Valašské Meziříčí. The object has three floors, it has a basement and two above-ground floors witch a flat roof. A loadbearing structure is made of skeleton - reinforced concrete monolithic columns and reinforced concrete monolithic floor slabs. Filling masonry is made of ceramic tiles. Object has thermal insulation by mineral wool. Detailed solution of final thesis deals with the solution of main building School of arts, where are the schoolrooms and technical facilities. In the other parts of the object are a staff facilities, multipurpose hall, café and underground garage.

No description available.

The main task of the diploma thesis is to use the open areas between the streets Stefanikova, Reissigova, Sportovni and Pionyrská in Brno for creating a multifunctional urban structure with the appropriate functions. Diploma thesis is based on the urban-architectural design created in the previous semester project. Thesis closely addresses the proposed multipurpose building between the streets Stredni a Stankova. In the object is located school of arts, cultural and leisure center, restaurant, café, music club and rentable units. Under the building are designed collective garages.

The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden. In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production. The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework.