This study is an analysis of trends in public higher education and their probability and desirability for the 1970's as perceived by persons in positions of leadership in public higher education. The purposes of this study were (1) to identify the major trends in public higher education in the United States, (2) to assess the opinions of persons in positions of leadership in the public four-year colleges and universities in Texas, (3) to determine if there were significant differences in opinions of the probability and desirability of trends for the 1970's, and (4) to develop projections of the most probable and the most desirable trends for the 1970's.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

This dissertation examines the video-installations created by American artist Dan Graham in the 1970s. It investigates the artist's relationship to Minimalism by analyzing themes Graham highlights in his own writings and in interviews. In particular, I explore how the artist's understanding of Herbert Marcuse, Walter Benjamin, and R.D. Laing informed his post-Minimalist work and how concepts gleaned from these sources are manifest in his video-installations. Also undertaken are discussions of the artist's interest in aestheticized play, the just-past present, the debate between Behaviourism and phenomenology, surveillance, and Modern architecture. In addition, I investigate Graham's position in Conceptual art, use of site-specificity, and the practice of institutional critique. At the outset, I provide an in-depth analysis of two of Graham's magazine pieces, Schema (March 1966) and Homes For America, that ties together the artist's reading of Marcuse and his rejection of Minimalist phenomenology. Next, I give an account of the artist's connection to early video art and his use of time-delay in works such as Present Continuous Past(s) and Two Viewing Rooms as a means to highlight the just-past present. Finally, I examine Graham's architectural video-installations Yesterday/Today, Video Piece for Showcase Windows in a Shopping Arcade, and Video Piece for Two Glass Office Buildings as instances of site-specific art and as part of the artist's practice of institutional critique. I also explore his references to the notions of art-as-window and art-as-mirror as an expansion of his engagement with Minimalism. Throughout, my discussion includes comparisons between Graham's work and that of other artists like Vito Acconci, Bruce Nauman, and Hans Haacke. In sum, this study offers an expanded understanding of how Graham employed video and installation in his art as a means to move beyond Minimalism and to interrogate contemporary American society.

Design Analysis of the VCU Mainstage production process for The Nerd The comedic farce, The Nerd, written by Larry Shue and directed by Drew Fracher here at VCU, is the production I intend to analyze in terms of the scenic design process. From the initial conception of ideas, to their development through collaboration, to completion of construction, and ultimately, opening night, I plan to breakout my process step by step. I'd like to communicate the transformation of a literary play into the three-dimensional world in my mind.I. Introduction A. Overall description of process as it applies to this particular interaction with director and designers B. Each person involved in process and their specific roleII. Body A. Process breakdown B. Each insinuated step defined in a more concrete manner 1. play analysis by scenic designer 2. initial meeting with director to understand his/her interpretation and conceptual plans for play 3. research begins with previous steps in mind begins the collaborative effort 4. research presentation meeting with director 5. initial design ideas developed with input from director and interpreted into a floor plan or three-dimensional representation of the set 6. feedback from director 7. redesign or adjustments based on director's comments as well as functional and aesthetic developments 8. the build of the final design begins with the knowledge that contingencies remain that will create hopefully only small adjustments C. Although this breakdown may be somewhat matter of fact, the intricacies of the process I went through in designing the set for The Nerd will hopefully flush out the details into a more authentic realityIII. Conclusion A. My opinion of the process B. Personal feedback on the resulting design C. Positive experiences D. Negative experiences and how I would change them E. In the end, what I learned from the process and collaboration

Thesis advisor: Seth Jacobs / U.S. President Jimmy Carter's handling of the Arab-Israeli conflict and the Middle East can only be properly understood in the context of his religious beliefs. Carter pursued what amounted to a faith-based foreign policy. Guided by the Christian concepts of justice, forgiveness, humility, and an emphasis on the importance of individuals, Carter attempted to make policy conform to the standards set by his faith. Viewing the Arab-Israeli conflict through this lens, he committed to advancing the Middle East peace process out of a Christian sense of duty. Religious belief caused Carter to champion the Palestinians' cause since he believed that the Palestinian people were suffering grave injustices under the Israeli occupation of the West Banka and Gaza. Ultimately, his faith-based approach proved unable to resolve the many diplomatic challenges facing his administration in the region. Fearing that any chance for peace might be lost, he invited Prime Minister Menachem Begin of Israel and President Anwar Sadat of Egypt to Camp David for substantive talks in September 1978. Only when Carter abandoned his religiously grounded policy orientation and embraced a coldly calculating approach did he succeed in getting the Israelis and Egyptians to agree to a deal. With the conclusion of the Israeli-Egyptian peace treaty in March 1979, Carter effectively removed himself from any further involvement in the process. / Thesis (PhD) — Boston College, 2012. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: History.

Neste trabalho proponho uma relação entre literatura e história a partir do conceito de historicidades distorcidas. Partindo da obra galáxias, de Haroldo de Campos, volto-me aos anos 70 para pensar uma historicidade que consiga levar em contas as múltiplas historicidades em jogo, muitas vezes entrecruzando-se, sem que se caia no relativismo ou em uma nova tentativa de construir narrativas. Para tanto, sob o conceito de historicidades distorcidas, mostro que o regime de historicidade de um poema é relacional, ou seja, só existe em relação a um outro regime de historicidade, seja ele do leitor, de outro poema ou de ambos. Essa maneira de pensar a relação entre literatura e história passa a ser a mais funcional, assim defendo, pois vimos experimentando o que chamo de perda de lastro discursivo: um aumento da distância, temporal e espacial, entre o espaço de experiência e o horizonte de expectativa (Koselleck, 2006), que leva a uma diminuição daquilo que compartilhamos como mínimo múltiplo comum discursivo: o contexto, a fraseologia, o que é ou não ideológico, o que é ou não cinismo. Nessa combinação entre uma concepção dos regimes de historicidade vistos de forma relacional, as historicidades distorcidas, e a diminuição daquilo que compartilhamos em nosso espaço público discursivo, a perda do lastro discursivo, termino propondo, no último capítulo, uma prática historiográfica, terminando em uma possível ontologia variável do poema. / In this thesis, I propose a relationship between literature and history from the concept of distorted historicities. Departing the work galaxies, by Haroldo de Campos, I turn to the 70s to think such a historicity that can take on multiple historicities accounts, often crisscrossing up without it falling into relativism or into a new attempt to build big narratives. To this end, under the concept of distorted historicities, I show that the historicitys regime of a poem is relational, which means that it exists only in relation to one another historicitys regime, whether the reader, another poem or both. That way of thinking about the relationship between literature and history becomes the most functional as well, I argue, as we are experiencing what I call the loss of discursive ballast: an increase of the distance, both in time and space, between the space of experience and the horizon expectation (Koselleck, 2006), which leads to a decrease of what we share as our discursive least common multiple: the context, the phraseology, what is or is not ideological, what is or is not cynicism. This combination of a conception of historicity schemes seen relationally, what I call distorted historicity, and the reduction of what we share in our discursive public space, the loss of discursive ballast, I end offering, in the last chapter, a historiographical practice, ending in a possible variable ontology of the poem.

Nesta dissertação de mestrado, procuro ler a obra de Torquato Neto através das tensões poéticas e políticas que a mesma engendra. Sua obra é construída num momento importante e ao mesmo tempo problemático da história brasileira, onde, entre outros aspectos, dá-se o processo de autonomia do campo literário (e cultural) brasileiro e, no campo político e social, vive-se uma ditadura militar. Ambas as circunstâncias compõem o turbulento painel criativo torquatiano. Do construtivismo anárquico, passando pelas dicotomias em jogo (vida/arte, política/poética, expressão/construção, matéria/material) e os deslocamentos e a instabilidade enunciativa, à resistência como forma máxima de expressão. / In this dissertation, I try to read the writings of Torquato Neto through the poetic and political tensions that it engenders. His work was built during an important yet problematic moment of Brazilian history, when occurred, among other factors, the process of autonomy of Brazilian literary (and cultural) field, and in the political and social fields people were living under a military dictatorship. Both conditions are responsible for the composition of the artists turbulent and creative panel. From the anarchic constructivism, through the dichotomies at stake (life/art, politics/poetics, expression/construction, substance/materiality), displacement and enunciative instability, to the maximum resistance as a form of expression.

O contato ocidental com outras sociedades sempre estimulou uma produção imagética interessada em retratar esse outro e, no caso dos povos originários do que hoje é o território brasileiro, esses sempre serviram como tema a uma série de representações muito variadas, conforme os padrões culturais e o pensamento da época de sua produção. Entretanto, nas artes do século XX, a imagem do índio começa a mudar de maneira significativa. Dentre as décadas de 1970 e 1980, mudanças na produção artística são observáveis e novos conteúdos começam a ser privilegiados ao mesmo tempo em que chama a atenção a ascensão de pautas indígenas, dentre outras do contexto político específico dessas décadas. O presente trabalho parte do reconhecimento de uma mudança no tratamento de povos indígenas na arte enquanto um tema. Tenta avaliar as potencialidades interpretativas no uso desse tema, de onde parte esse interesse e como pensar o lugar que o artista passa a ocupar ao falar desses povos. Diante de outros problemas diagnosticados no tocante a arte e povos indígenas, a pesquisa também delineará outros debates envolvendo essas categorias que têm chamado a atenção da historiografia da arte nos últimos tempos. / The western contact with other societies has always motivated the creation of pieces dedicated to portrait the other. Concerning the original inhabitants from what today is known as the brazilian territory, they have always appeared in a variety of images, portraited according to the thinking and cultural standards of the time these same images were made. However, in the 20th century art, the portrait of indigenous people changes significantly. Between 1970 and 1980, Brazilian art goes through noticeable changes and new contents take place at the same time the country watches the rise of the debate about indigenous peoples rights all inside the very specific political context of these decades. The present work comes from the assumption that indiginous people have always been a subject in art, but aims to undersand the many ways artists refer to this subject, where the interest on indigenous people comes from and what the role of the artist is when talking about these peoples. Other problems have been noticed concerning art and indigienous people, therefore, the present work will also map some other matters surronding these categories that have been recently debated by art history.

In 1974 following the Cyprus Crisis, the bilateral alliance between Greece and the United States entered a new period. The bilateral relations, traditionally close since the emergence of the Cold War, faced a set of challenges. Turkey’s invasion of Cyprus and the collapse of the Greek dictatorship, which enjoyed close ties with Washington, gave rise to anti-Americanism in Greek society. Moreover, Washington’s inability to contain Turkish aggression frustrated the Greek government. In response to the invasion of Cyprus, Athens announced Greece’s withdrawal from NATO with the hope of securing the active involvement of the US and NATO in the Greek-Turkish dispute. These developments required readjustments to Greek-US policies and strategies to overcome obstacles and secure their objectives. Greece’s withdrawal from and return to NATO after six years, in October 1980, symbolises best this distinct period of Greek-US cooperation. The traditional historical narrative states that after 1974 the priorities of successive Greek governments were increasingly directed at managing the country’s accession to European Economic Community while developing closer cooperation with the Balkan states. The United States remained another significant ally of Greece. This thesis emphasises that the Greek governments between 1974 and 1980 regarded the United States as the single most important ally for the Greek national security policy. The Greek governments realised that only Washington could assist Greece with both Soviet and Turkish threats. Washington, meanwhile, prioritised retaining close ties with both Greece and Turkey and an eventual re-build of NATO’s Southern Flank. What is significant is that President Carter put aside his idealistic declarations made on the campaign trail and adopted fully Ford/Kissinger’s approach toward Greece, Turkey, and Cyprus, i.e. the Eastern Mediterranean. Hence, the thesis underlines the element of continuity between the US administrations in the second half of 1970s. The thesis makes a significant contribution to Cold War scholarship regarding bilateral relations within the West during the era of détente. Scholars has largely overlooked the US’s relationships with Greece, Turkey, and Cyprus even though the Eastern Mediterranean region dominated the foreign policy agendas of both Ford and Carter administrations. This study argues that President Ford’s handling of relations with Greece was focused on crisis management rather than crisis solving. More significantly, although unrecognised at the time, President Carter’s relations with Greece were a significant success. Ford and Carter responded to the Eastern Mediterranean questions in ways that reflect significant continuities in their approaches. Ford and his Secretary of State Henry Kissinger developed the concept of a ‘balanced approach’ towards Athens and Ankara in political, economic, and military terms that aimed at ensuring close ties with both. Carter followed the same policy concept. Carter succeeded in seeing Greece’s return to full NATO membership while resisting being dragged into the centre of Greek-NATO negotiations. During these years the Greek government also scored significant successes. Greek pressure ensured that Washington devoted equal attention to Greece and Turkey, a much more powerful regional power. Similarly, Greece received significant US economic aid while Turkey faced a strict US arms embargo. By 1980, however, the implications of the Iranian Revolution and the end of détente mandated that Turkey had to take precedence over Greece in the US’s policy considerations.

Neste trabalho investigamos em que medida o mal-estar da sociedade americana, entre 1975 e 1978, causado por uma série de acontecimentos dos anos 1970 (fim da Guerra do Vietnã, reivindicações das chamadas minorias sociais, crise da OPEP e Watergate, entre outros), foi representado em filmes comerciais, feitos dentro de Hollywood e sem maiores ambições autorais. Os filmes analisados neste trabalho são: Rocky - Um Lutador (John G. Avildsen, 1976) e Os Embalos de Sábado à Noite (John Badham, 1977). / In this work we investigate to what extent the malaise of American society between 1975 and 1978, caused by a series of events of the seventies (end of the Vietnam War, calling claims of social minorities, the OPEC crisis and Watergate, among others) , was represented in commercial films made in Hollywood without auteurist ambitions. The films analyzed in this work are: Rocky (John G. Avildsen, 1976) and Saturday Night Fever (John Badham, 1977).