Thesis (M.A. (Drama)) - Rhodes University, 2009. / A half-thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Drama.

The following report on ARC 696: Advanced Architectural Design Studio: Alley Flat Initiative, at the University of Texas at Austin in the Spring of 2010 taught by Prof. Louise Harpman and visiting Prof. Sarah Gamble asks how new knowledge is acquired through the in-depth study and reconstruction of documentary recordings taken from a semester of the studio. The recordings were made of the activities that transpired as a result of the educational studio design process, interactions with educators, reviewers, community partners, clients, professional architects, contractors, citizens and the unique sites that were chosen for consideration. The narrative of the studio was then reconstructed into the language of film and supervised by Anne Lewis of the Department of Radio Television and Film at the University of Texas. Through observation, I have recorded the process by which the Alley Flat Initiative attempts to create a unique educational experience for students by exposing them to real life actors in the creation of housing that is affordable, green and mitigates the forces of gentrification. In the recording process, I documented the initial design question posed to the studio, the formation of design partnerships between students, the collaborative engagement of students and clients, faculty and community reviews, stumbling blocks in the process, the negotiations between the concepts of affordability and sustainable design, interactions between the students and stakeholders, and student reflections on their experiences as participants in the Alley Flat Initiative studio. The focus of film is to create a body of research that is easily transmitted on the student’s ability to learn design through exposure to real clients, a real site and a chance that their design might be built. Further, the research seeks to make recommendations that can be implemented into the organizational language of future Alley Flat Studios in the School of Architecture at the University of Texas at Austin. This report will: (1) lay the groundwork for the methodology that was incorporated into the recording; (2) review existing literature on the subject of filmmaking as a means to conduct research; and (3) reveal the findings of the research and implications for future service learning projects. Therefore, the report will serve to contextualize elements of the research that were not able to be addressed by the film. / text

Using Gene Sharp’s guidelines for nonviolent action and Steven Levitsky and Lucan Way’s four arenas of contestation (electoral, legislative, judiciary, and the media) that allow opposition forces to challenge, weaken, or defeat competitive authoritarian regimes, this study provides a functionalist analysis of Serbia’s Otpor movement. Serbia under Milošević was a particular type of hybrid regime called competitive authoritarianism, a regime where the rules of a fully democratically integrated government are violated so often and to such extent that competitive authoritarian incumbents fall short of the bare minimum standards of conventional democracy, bordering the line of authoritarian dictators. Combining Sharp, Levitsky, and Way’s functionalist perspective on social movements with those of sociologists Charles Tilly and Lesley Wood and Charles Stewart’s functional approach to the rhetoric of social movements, this study outlines Otpor’s strategies and analyzes them in hopes of outlining a blueprint for future social movements with similar political opportunities available.

Thesis (M.A.)--Ohio University, March, 2010. / Title from PDF t.p. Includes bibliographical references.

This document, A TD’s Awakening: A Technical Direction Thesis on Spring Awakening, is a detailed description of the technical direction process for Southern Illinois University Department of Theater’s Fall 2017 production of Spring Awakening: A New Musical. Chapter One dives into script analysis and includes a scene breakdown and technical requirements for the production as well as a discussion of the goals I wished to accomplish with this project. Chapter Two details the development of the design for the production and examines the monetary and time budgets for the scenic units. Chapter 3 is a detailed account of the production process, including any challenges that arose and how they were resolved. Chapter 4 reflects on the goals mentioned in the first chapter and what aspects of the production I would have done differently. Also included in this document are appendices that include the build schedule, the budget sheets, scenic designer’s drafting, construction and assembly drawings, and production photos.

Este trabajo de investigación considera a la arquitectura como una actividad artística y atribuye un valor cognitivo a tal práctica. Trata de la relación que hay entre los dibujos autógrafos de los arquitectos y los procesos de creación vinculados al proyecto arquitectónico, al objeto de desvelar los procedimientos gráficos específicos seguidos por un grupo significativo de arquitectos y poner de manifiesto las ideas, pensamientos y valores asociados. Este tipo de dibujos se desarrollan en series donde se documentan los procesos de formalización, y en ellos queda registrado el pensamiento creativo. Los dibujos consignan las trazas de un pensamiento efímero. Como se colige, ha sido necesario estudiar previamente la naturaleza del dibujo arquitectónico en cuanto pensamiento y representación. Las nociones de pensamiento visual y gráfico se explican a la luz de la filosofía empirista y analítica, la psicología cognitiva, la percepción, y la neurociencia; estudiando cómo se aplican en los campos de conocimiento científico y artístico, desde sus orígenes gestálticos hasta la neuroestética contemporánea. Hemos tratado dos de sus posibles dimensiones de la noción de representación: la teoría de la representación en los sistemas simbólicos y notacionales tal y como lo desarrolla Nelson Goodman en su estudios sobre el valor cognitivo de la práctica artísticas, con especial incidencia en el dibujo de los arquitectos; y, por otro lado, la teoría clásica de la representación iniciada por Alberti, la formulación en la Ilustración y su revisión en el último tercio del siglo XX enunciada por Rossi y Moneo. Toda innovación material extiende el horizonte del pensamiento. Unas determinadas condiciones materiales permiten operar desde el dibujo con extraordinaria seguridad y autonomía, superando la necesidad de verificación empírica mediante la construcción. -El uso de un instrumental propio de geómetras, que aúna precisión y reversibilidad en los procesos creativos originando un pensamiento visual y gráfico dinámico. -La geometría proyectiva, que garantiza y anticipa la integridad formal de la futura construcción. -El desarrollo de un alto grado de codificación, que aproxima los dibujos del arquitecto a un sistema notacional. El interés por los procesos de formalización es consustancial a la escuela formalista centroeuropea de la crítica y la historia del arte, e identifica el contenido de la obra artística con su propio formarse, desvinculando a las obras arquitectónicas de campos de significados extraños a la propia estructura formal de la obra. Esta idea atraviesa el siglo con fortaleza. Hemos desvelado su rastro en la estética de Adorno y Pareyson y cómo adquiere una enorme relevancia con el surgimiento de las neovanguardias de los años sesenta. En arquitectura, el proceso de formalización no tiene lugar en la obra, sino en el proyecto, y el modo en que ha quedado registrado es el dibujo autógrafo. Pensamos que el análisis formalista tuvo una aplicación retroactiva sobre las obras de Borromini, —razón de su revalorización contemporánea —. Gran parte del valor que se atribuye a su obra corresponde a aquello que podemos estudiar en sus colecciones de dibujos autógrafos. Los procesos de formalización siguen siendo el argumento que sanciona y legitima la obra de gran parte de los arquitectos del último tercio del siglo XX. Estudiamos tres casos extremos: Peter Eisenman sostiene que toda arquitectura, como trabajo intelectual de raíz racional, está depositada en los dibujos. Se fundamenta en procedimientos abstractos de matriz geométrica, donde se opera desde el dibujo, lugar donde radica todo lo que la arquitectura sea, con independencia de que sea experimentada, o no, bajo el formato de una obra construida. Steven Holl está interesado en la experiencia inmanente. La experiencia de la obra es el origen de una vía cognitiva de raíz fenomenológica. Sigue un procedimiento inductivo que parte de la realización de dibujos que capturan las manifestaciones aisladas de los fenómenos captables por los sentidos, a partir de los cuales configura un modelo completo y coherente. Siza es un maestro que concilia sabiamente ambas pulsiones. Los modelos de transformación de una arquitectura sancionada por su fundamento tipológico como consecuencia de las fuerzas que, provenientes de las condiciones locales, tensiona la forma. Siza, en cierto modo aúna el valor de los procedimientos de configuración de raíz gráfica con la consideración hacia el modo en que dibujos, una vez que se desencadene la construcción del edificio, sea experimentados por los usuarios. Hemos fijado con claridad cuáles son estos procedimientos gráficos específicos, hemos identificado su origen en Borromini y hemos estudiado sus epígonos en cada uno de los tres arquitectos contemporáneos. Hemos mostrado cómo operan desde el dibujo en los procesos de formalización que culminan el proyecto. Con la irrupción de la digitalización los procedimientos basados en el dibujo autógrafo, aunque no abandonados completamente, permanecen ocultos.

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In some aspect gender equality could be considered threatened by a growing backlash all around the world and without commitment to achieve what has been agreed so far it will continue to remain an unachievable goal. The objective of this research is to look into the fifth of the Sustainable Developmental Goals, which strives to promote gender equality and empowerment of women and girls. Further, this thesis is done through qualitative research with abductive reasoning by doing a single case study looking at Bangladesh in order to try and make sense of the research gap that was found through the literature review. In addition, the theory used throughout this research is Steven Lukes´s and his three dimensions of power which will be used in order to try and answer the research questions. Lastly, this research is relevant to the subject of peace and development since it is connected to sustainable development which is important for future development.    Bangladesh has been comparatively more successful than its neighbouring states at implementing gender equality. But as the main result of this thesis showed they still struggle in many aspects and power structures and power relations are one of the main reasons for the problems that have occurred when trying to implement the fifth goal. The lack of data that is prevailing all over the world in this field also plays a huge role in making it difficult the implementation of the SDG. The research also found that the theory used in the research was not as fully applicable as first thought however it could be used in order to discuss the findings in some ways and in order to answer the research question asked in the research.

This essay focuses on exploring power structures within George Orwell's narratives 1984 andAnimal Farm, through the theoretical lens of Panopticism and the discourse of language andpower. By adding Steven Lukes' multidimensional view of power it digs deep into thecomplexity of power relations and further enriches our understanding of the subject. Whenreflecting on power as a phenomenon rooted in privileged access to social resources, theshaping of language use, and the exercise of power through language strategies Foucault'sPanopticism clarifies the layers of societal intricacies and offers a fresh perspective on thetimeless themes embedded in these literary works.

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