Thesis (Ph. D.)--University of Wisconsin--Madison, 1951. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 361-385).

Thesis (Ph. D.)--Northern Arizona University, 1999. / Includes abstract. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 205-213).

Made available in DSpace on 2018-08-01T23:40:27Z (GMT). No. of bitstreams: 1 tese_12219_Dissertação final Niciane Castro.pdf: 3372354 bytes, checksum: 184d14e02337731831d7ed79e822f30a (MD5) Previous issue date: 2018-04-18 / Esta dissertação se propõe a compreender a participação dos elementos materiais nas práticas criativas de uma empresa de design de mobiliário. Sua fundamentação teórica está embasada no estudo da economia criativa e das teorias da prática e epistemologia de Theodore Schatzki. A fim de alcançar o objetivo geral, a pesquisa empírica foi realizada por meio da triangulação da observação participante com videogravação e entrevistas (exploratórias e semiestruturadas em profundidade). Em relação à análise e interpretação dos dados, foi empregado o procedimento de análise de conteúdo temático a posteriori. Ressalta-se, entretanto, que este estudo está delimitado à análise das práticas criativas de uma empresa de design de mobiliário de pequeno porte, localizada em Vitória/ES. Além disso, ao perseguir esse objetivo, não se pretende ignorar a participação dos seres humanos no processo de criação, e nem mesmo que alguns indivíduos possuem mais potencial criativo que outros, mas contribuir na discussão sobre o papel da materialidade nesse tipo de fenômeno social. Os resultados revelam que os elementos materiais compõem as “malhas criativas”, atuando na sustentação e promoção dos “ditos” e “feitos” corpóreos organizados e situados naquele contexto. Neste aspecto, a materialidade influi na conexão com as demais práticas sociais presentes na empresa estudada, inclusive com aquelas que não estão diretamente vinculadas aos seus fins como estúdio de design, mas que têm como intento a “troca de ideias” tão fundamentais para criação coletiva. Ademais, ao “tangibilizar” ideias, os elementos materiais permitem que os atores sociais articulem expertises, "gostos" e informações em “experimentações” capazes de provocar reflexões ao longo do processo de criação, gerando novas ideias que, por sua vez, também serão experenciadas, até se obter um resultado criativo satisfatório. Por fim, foi possível perceber que os elementos materiais podem potencializar (ou restringir) as práticas criativas, conforme sua capacidade de “corporificar” os conhecimentos, normas (explicitas ou não), discursos, emoções e motivações compartilhados no processo criativo da organização. / The research aims to understand the participation of the material elements in the creative practices of a furniture design company. Its theoretical rationale is based on the study of the creative economy and on the theories of practice and epistemology by Theodore Schatzki. In order to achieve the general goal, the empirical research was conducted through the triangulation of participating observation with video recording and interviews (exploratory and in-depth semi-structured). Thematic analysis was used. However, this study is limited to the analysis of the creative practices of a small furniture design company, located in Vitória, Espírito Santo, Brazil. Moreover, the participation of human beings in the process of creation is not ignored, nor even the fact that some individuals have more creative potential than others. But rather such human participation is considered to contribute to the discussion about the role that the material elements play in this type of social phenomenon. The research results show that the material elements compose the "creative meshes", playing a role of support and promotion of bodily doings and sayings organized and situated in that context. Concerning this aspect, materiality works in the connection with other social practices in the studied company, including those which are not directly linked to its purposes as a design studio, whose purpose is to "exchange ideas", an essential action to collective creation. In addition, by "tangibilizing" ideas, materiality allows social actors to articulate expertises, "tastes" and information in "experiments" capable of provoking reflections throughout the creation process, generating new ideas that, in turn, will also be experienced, until a satisfactory creative result is achieved. Finally, it was possible to perceive that material elements can enhance (or restrict) creative practices, according to their capacity to "embody" the knowledge, norms (explicit or not), discourses, emotions and motivations shared in the creative process of the organization.

Essän Ljud – livets parentes handlar om ljud I relation till idéer om experimentel musik och ett utökat tankesätt om vad music och ljud är. Vad lyssnande kan vara och hur vi uppfattar ljud I relation till den teknologiska och industriella utvecklingen. Essän ger exempel på hur hjärnan analyserar ljud baserat på primala, omedvetna instinkter samt kulturella värderingar. Hur kommunikation och perception är beroende av och formad av den akustiska bakgrunden. Genom essän delar författaren med sig av sina egna tankar kring ljud och vad det innebär att arbeta med ljud. Mot slutet av texten proklamerar han om hur mänsklig utstrålning är ett möjligt material I en konstnärlig praktik med målet att uvidga ljudkonstens kontext till akustiska miljöer bortom ateljén.

The Ottoman Empire initiated a serious attempt in the archaeological exploration of ancient sites lying in its territory during the Hamidian period. By claiming ownership over the heritage of past civilizations, it aimed to counterbalance the European hegemony over its antiquities while constructing a new, “civilized” identity as part of its modernization programme. Adopting European archaeological practices, it became an active participant in the scholarly scene. Despite being latecomers and lacking sufficient resources and expertise, Ottoman archaeologists pioneered and promoted archaeology so successfully that, they were able to achieve the disciplinary criteria in archaeological practice established by their Western counterparts. However, due to ideological factors, their names are absent from the standard account of early history of archaeology while their accomplishments are yet to be recognized in historiography. This dissertation examines two excavation campaigns undertaken at Raqqa by Theodore Macridy and Haydar Bey on behalf of the Imperial Museum in 1905-6 and 1908 respectively and their finds collection housed within the Museum of Turkish and Islamic Arts in İstanbul. While documenting these two excavations and their corresponding finds thoroughly for the first time, this study also reveals the contributions of such key figures of Ottoman archaeology to the development of archaeology during its formative years. The history of Ottoman archaeology is yet to be written. Analyzing the field methods, collection strategies, and restoration practices of the two Ottoman archaeologists working at Raqqa within a historical and disciplinary context, this study offers insights into the practice and the conceptualization of archaeology as a discipline in the Ottoman Empire, a subject that has been overlooked in scholarship. Moreover, this study demonstrates the importance of the Raqqa excavations as exceptional cases in targeting mainly ceramic finds with no interest in the architectural remains of the site, a practice contrasting with contemporaneous excavations. Besides, a collection of fairly modest components, the Raqqa finds indicate an emerging interest in the potential of artifacts as sources of information rather than being merely objects for museum display, thus representing a key milestone in the newly emerging discipline of Islamic archaeology. / Graduate / 0377 / 0324 / 0333 / 0730

A study of the foreign policies of Theodore Roosevelt.

In this thesis an attempt is made to show the peculiar features of Fontane's narrative style as well as his art of characterization. I have tried to interpret his concept of humaneness in the two novels, Unwiederbringlich and Effi Briest, and to show how the composition of these novels is directed to the portrait of the individual. Theodor Fontane's unusual distinction lies in his keen observation of the Prussian scene and his craftsmanship as a cosmopolitan storyteller. The principal elements of his works are a sense of historical continuity and an uncommon perception of the speech and gestures by which his characters reveal their particular virtues. In his early writings about his travels abroad and his excursions through the province of Brandenburg, he developed powers of observation and a narrative style which served him well in his major novels. His composition is picturesque. The plots are enlivened with anecdotes and surprising detail; the portraiture is subtle and precise. Fontane's portrayal of human relationships takes into account the impact of coincidences of life. His symbolism, apparent not only to his readers, but also to his characters, is simple but effective. Fontane seems to favor particularly the individual who is restricted by conventions and whose conflicts derive from these restrictions. His characters, like himself, are caught between the meaningless traditions of former times and the dawn of a new awareness. Fontane seems to favor particularly the individual who is restricted by conventions and whose conflicts derive from these restrictions. His characters, like himself, are caught between the meaningless traditions of former times and the dawn of a new awareness.

No description available.

No description available.

No description available.