Esta pesquisa objetivou identificar padrões formais, plásticos, sintáticos, semânticos e simbólicos eventualmente mais característicos de estamparias têxteis voltadas ao vestuário de usuárias das classes sociais média e alta. O estudo, de natureza mista, quantitativa e qualitativa, apresentou caráter essencialmente fenomenológico, buscando percepções de usuárias e especialistas (designers), ao comparar padronagens de estamparias gráficas utilizadas por mulheres das classes sociais média e alta. Do ponto metodológico, a pesquisa foi dividida em três estágios principais. Em um primeiro estágio foram selecionadas quatrocentas amostras de imagens de estampas voltadas para usuárias das classes média e alta, sendo duzentas amostras de cada classe. Estes dois grupos de duzentas amostras foram, então, reduzidos, aleatoriamente, a dois grupos de vinte amostras. Cada amostra, a partir deste ponto, foi minuciosamente isolada e abstraída do desenho da roupa, da pessoa que a estivesse trajando e de seu entorno, evitando-se variáveis contaminantes. No segundo estágio, as vinte amostras, já isoladas e abstraídas, foram individualmente apresentadas a especialistas (designers), com objetivo de estimulá-los a verbalizar categorias conceituais que pudessem ser utilizadas como norteadoras de um diferencial semântico a ser elaborado no terceiro estágio. Por fim, no terceiro estágio, sete amostras de cada um dos dois grupos foram reunidas, aleatoriamente, e apresentadas a dois grupos de respondentes (especialistas e usuárias) de maneira a atribuírem valores numéricos de 1 a 5 quanto a dez parâmetros (bipolarizados) induzidos a partir das análises obtidas dos dados oferecidos por especialistas no segundo estágio. Participaram do terceiro e último estágio 55 respondentes, sendo seis designers e 49 usuárias. Os resultados deste estudo foram, então, estratificados em vários quadros, entre os quais: amostras apenas da classe média, com respostas de especialistas e de usuárias; amostras apenas da classe alta, com respostas de especialistas e de usuárias; amostras da classe média e da classe alta, com respostas apenas de especialistas; amostras da classe média e da classe alta, com respostas apenas de usuárias; e amostras da classe média e da classe alta, com respostas da média de especialistas e usuárias. O cruzamento geral destas várias estratificações revelou singular e pouco antecipada convergência das respostas de especialistas e de usuárias sobre padrões de estampas têxteis atribuídos às classes média e alta. Notou-se, por exemplo, coincidências acentuadas nas respostas nas categorias simbólico/literal, cromático/acromático, sofisticado/rústico, linear/aleatório, clássico/moderno e geométrico/orgânico, entre amostras de padronagens têxteis voltadas às usuárias das classes média e alta. Divergências discretas foram, entretanto, observadas nas categorias equilibrado/desequilibrado, simetria/assimetria, comum/incomum e figurativo/abstrato. Este estudo conclui que variações qualitativas no vestuário das classes média e alta estariam, portanto, localizadas menos no âmbito das características formais, semânticas, simbólicas e estéticas das padronagens têxteis, residindo, muito possivelmente, sobretudo, na qualidade da impressão, acabamento, coloração, fiação, tecelagem, costura e em minúcias de seus desenhos apenas perceptíveis pela proximidade física e tátil dos referidos tecidos e peças de vestuário / This research aimed to identify formal, syntactic, esthetic, semantic, and symbolic patterns possibly more closely associated with textile designs geared to the clothing of female middle and upper class users. The study, of a mixed nature, combined both the quantitative and qualitative approaches. It was of an essentially phenomenological character, searching for the perceptions of both users and design specialists, as they compared graphic design patterns utilized in the clothing of middle and upper class women. From a methodological standpoint, the study was divided into three main stages. In the first stage, 400 samples of photographs of textile design geared to female middle and upper class users, 200 corresponding to each group, were randomly selected from a variety of sources. Out of these two groups, another selection was then randomly conducted as well, narrowing both groups down to 20 samples each. Each textile sample, at this point, was thoroughly isolated and taken from the actual design of the clothing, from the person who might be wearing it and from its surroundings, therefore avoiding contaminant variables. In the second stage, those 20 samples, already isolated and taken out of their surroundings, were individually shown to textile and fashion design specialists, aiming to stimulate them to verbalize conceptual categories that could be utilized to guide the elaboration of a semantic differential in the third stage. Finally, in the third stage, seven samples from each of these two groups were randomly ordered and displayed to two groups of participants (design specialists and users). They were asked to grade them with numeric values from 1 through 5 regarding ten parameters (bipolarized) which were previously developed based on data provided by design specialists during the second stage. In this final stage, 55 respondents took part, six of which were design specialists and 49 of which were users. The results of this research were then stratified and displayed into various tables and charts, amongst which were: exclusively middle-class samples, featuring answers of both design specialists and users; exclusively upper-class samples, featuring answers of both design specialists and users; samples of both middle and upper class, featuring answers exclusively of design specialists; samples of both middle and upper class, featuring answers exclusively of users; and, finally, samples of both middle and upper class, featuring combined answers of design specialists and users. Cross-referencing of the various data stratifications revealed a unique and little-anticipated convergence of answers from both design specialists and users regarding textile graphic patterns linked to either middle or upper class clothing. Significant, coinciding patterns of responses were noted in conceptual categories such as symbolic/literal, chromatic/achromatic, sophisticated/rustic, linear/random, classic/contemporary and geometric/organic, among samples of graphic textile patterns associated with middle- and upper-class female users. Discrete divergences were identified, however, in categories such as balanced/unbalanced, symmetrical/asymmetrical, plain/rare and figurative/abstract. This study, then, reached the conclusion that qualitative variations in graphic design patterns in clothing of middle- and upper-class female users might, therefore, occur less in the realm of the studied formal, semantic, symbolic and aesthetic graphic textile patterns, as they seem to most likely reside, above all, in the printing quality, finishing, coloring, threading, weaving, sewing and in minute drawing details of the actual graphic textile patterns which can only be ascertained and appreciated by means of physical and tactile proximity to these graphic patterns and the actual clothing itself

No description available.

Cette thèse s’appuie sur une série d’enquêtes qualitatives et quantitatives pour proposer une analyse systématique du rapport au politique des classes supérieures françaises. Notre hypothèse est que l’on peut mieux spécifier la manière dont les mieux dotés participent, opinent, et font valoir leurs intérêts, si l’on prend au sérieux tous les comportements qui ne collent pas avec la description usuelle d’une classe supérieure compétente, investie et intégrée politiquement. Ainsi, s’intéresser aux formes bourgeoises de scepticisme et de relâchement dans la participation conventionnelle autorise une compréhension plus fine du lien entre statut social et politisation. De même, être attentif aux ratés de la reproduction des préférences politiques révèle en creux ce qui, dans le fait d’appartenir aux classes supérieures, dispose au vote de droite. Enfin, nous préciserons les conditions de possibilité du pouvoir des classes supérieures en prenant pour objet les rendements incertains du capital social spécifique que constitue la proximité aux élus, d’une part, et les tentatives malheureuses de contrôle territorial, d’autre part. / This thesis is based on a series of qualitative and quantitative surveys. It provides a systematic analysis of French upper classes’ attitudes towards politics. I argue that behaviors that do not fit with the usual description of upper classes as politically competent, committed and well-represented should be taken into account. This approach allows a better understanding of how upper classes actually participate, make electoral choices and defend their interests. The thesis develops as follows. First, I show that investigating why bourgeois occasionally abstain from voting or avoid talking politics leads to a thorough comprehension of the link between social status and participation. Second, I provide evidence that the analysis of uncommon trajectories of members of the bourgeoisie who support left-wing parties indirectly reveals what makes the former more likely to be conservative voters. Third, I study how upper classes members use their proximity to politicians as a resource, and the risks they run by doing so. Finally, I study what happens when upper classes attempt to control space, but are deprived of politicians’ support.

Esta pesquisa objetivou identificar padrões formais, plásticos, sintáticos, semânticos e simbólicos eventualmente mais característicos de estamparias têxteis voltadas ao vestuário de usuárias das classes sociais média e alta. O estudo, de natureza mista, quantitativa e qualitativa, apresentou caráter essencialmente fenomenológico, buscando percepções de usuárias e especialistas (designers), ao comparar padronagens de estamparias gráficas utilizadas por mulheres das classes sociais média e alta. Do ponto metodológico, a pesquisa foi dividida em três estágios principais. Em um primeiro estágio foram selecionadas quatrocentas amostras de imagens de estampas voltadas para usuárias das classes média e alta, sendo duzentas amostras de cada classe. Estes dois grupos de duzentas amostras foram, então, reduzidos, aleatoriamente, a dois grupos de vinte amostras. Cada amostra, a partir deste ponto, foi minuciosamente isolada e abstraída do desenho da roupa, da pessoa que a estivesse trajando e de seu entorno, evitando-se variáveis contaminantes. No segundo estágio, as vinte amostras, já isoladas e abstraídas, foram individualmente apresentadas a especialistas (designers), com objetivo de estimulá-los a verbalizar categorias conceituais que pudessem ser utilizadas como norteadoras de um diferencial semântico a ser elaborado no terceiro estágio. Por fim, no terceiro estágio, sete amostras de cada um dos dois grupos foram reunidas, aleatoriamente, e apresentadas a dois grupos de respondentes (especialistas e usuárias) de maneira a atribuírem valores numéricos de 1 a 5 quanto a dez parâmetros (bipolarizados) induzidos a partir das análises obtidas dos dados oferecidos por especialistas no segundo estágio. Participaram do terceiro e último estágio 55 respondentes, sendo seis designers e 49 usuárias. Os resultados deste estudo foram, então, estratificados em vários quadros, entre os quais: amostras apenas da classe média, com respostas de especialistas e de usuárias; amostras apenas da classe alta, com respostas de especialistas e de usuárias; amostras da classe média e da classe alta, com respostas apenas de especialistas; amostras da classe média e da classe alta, com respostas apenas de usuárias; e amostras da classe média e da classe alta, com respostas da média de especialistas e usuárias. O cruzamento geral destas várias estratificações revelou singular e pouco antecipada convergência das respostas de especialistas e de usuárias sobre padrões de estampas têxteis atribuídos às classes média e alta. Notou-se, por exemplo, coincidências acentuadas nas respostas nas categorias simbólico/literal, cromático/acromático, sofisticado/rústico, linear/aleatório, clássico/moderno e geométrico/orgânico, entre amostras de padronagens têxteis voltadas às usuárias das classes média e alta. Divergências discretas foram, entretanto, observadas nas categorias equilibrado/desequilibrado, simetria/assimetria, comum/incomum e figurativo/abstrato. Este estudo conclui que variações qualitativas no vestuário das classes média e alta estariam, portanto, localizadas menos no âmbito das características formais, semânticas, simbólicas e estéticas das padronagens têxteis, residindo, muito possivelmente, sobretudo, na qualidade da impressão, acabamento, coloração, fiação, tecelagem, costura e em minúcias de seus desenhos apenas perceptíveis pela proximidade física e tátil dos referidos tecidos e peças de vestuário / This research aimed to identify formal, syntactic, esthetic, semantic, and symbolic patterns possibly more closely associated with textile designs geared to the clothing of female middle and upper class users. The study, of a mixed nature, combined both the quantitative and qualitative approaches. It was of an essentially phenomenological character, searching for the perceptions of both users and design specialists, as they compared graphic design patterns utilized in the clothing of middle and upper class women. From a methodological standpoint, the study was divided into three main stages. In the first stage, 400 samples of photographs of textile design geared to female middle and upper class users, 200 corresponding to each group, were randomly selected from a variety of sources. Out of these two groups, another selection was then randomly conducted as well, narrowing both groups down to 20 samples each. Each textile sample, at this point, was thoroughly isolated and taken from the actual design of the clothing, from the person who might be wearing it and from its surroundings, therefore avoiding contaminant variables. In the second stage, those 20 samples, already isolated and taken out of their surroundings, were individually shown to textile and fashion design specialists, aiming to stimulate them to verbalize conceptual categories that could be utilized to guide the elaboration of a semantic differential in the third stage. Finally, in the third stage, seven samples from each of these two groups were randomly ordered and displayed to two groups of participants (design specialists and users). They were asked to grade them with numeric values from 1 through 5 regarding ten parameters (bipolarized) which were previously developed based on data provided by design specialists during the second stage. In this final stage, 55 respondents took part, six of which were design specialists and 49 of which were users. The results of this research were then stratified and displayed into various tables and charts, amongst which were: exclusively middle-class samples, featuring answers of both design specialists and users; exclusively upper-class samples, featuring answers of both design specialists and users; samples of both middle and upper class, featuring answers exclusively of design specialists; samples of both middle and upper class, featuring answers exclusively of users; and, finally, samples of both middle and upper class, featuring combined answers of design specialists and users. Cross-referencing of the various data stratifications revealed a unique and little-anticipated convergence of answers from both design specialists and users regarding textile graphic patterns linked to either middle or upper class clothing. Significant, coinciding patterns of responses were noted in conceptual categories such as symbolic/literal, chromatic/achromatic, sophisticated/rustic, linear/random, classic/contemporary and geometric/organic, among samples of graphic textile patterns associated with middle- and upper-class female users. Discrete divergences were identified, however, in categories such as balanced/unbalanced, symmetrical/asymmetrical, plain/rare and figurative/abstract. This study, then, reached the conclusion that qualitative variations in graphic design patterns in clothing of middle- and upper-class female users might, therefore, occur less in the realm of the studied formal, semantic, symbolic and aesthetic graphic textile patterns, as they seem to most likely reside, above all, in the printing quality, finishing, coloring, threading, weaving, sewing and in minute drawing details of the actual graphic textile patterns which can only be ascertained and appreciated by means of physical and tactile proximity to these graphic patterns and the actual clothing itself

Cette Thèse est une étude des dynamiques qui entrainèrent la construction du marché de l'art aux États-Unis entre les années 1800 et 1930. Elle se veut être une analyse des transformations qui permirent la construction d'un réseau national à partir de réseaux régionaux. Plus précisément, elle traite de la manière dont les Beaux-Arts se développèrent à Boston, Philadelphie et New York à partir d'idéologies et d'idéaux religieux et pastoraux, ainsi qu'à partir des concepts et des stéréotypes socio-culturels attachés à l'art et à l'artiste au sein de la société. Cette thèse montre la manière dont les origines sociaux des mécènes et la restructuration social du dix-neuvième siècle jouèrent un rôle central dans cette construction. L'arrivée de nouveaux groupes sociaux provenant de l'industrialisation du pays influencèrent le rôle de l'artiste au sein de la société, ainsi que sa mission culturelle et sa relation avec le public. Cette étude montre aussi comment de nouvelles catégories socio-professionnelles, comme les critiques et les illustrateurs, émergèrent de ce nouveau contexte économique et alternèrent la position social de l'artiste lors de la montée de la diffusion de la presse écrite. Le pouvoir économique des mécènes les poussèrent à utiliser leurs investissement dans les Beaux-Arts pour justifier et affirmer leur nouvelle position sociale. Cette thèse analyse aussi la manière dont le mécénat industriel intègre au marché de l'art des stratégies et des logiques issues de leurs affaires, influençant le fonctionnement de tout le système. / This dissertation is a study of the dynamics behind the growth of the US art market from the 1800's to the 1930's. Its main goal is to analyze the transformations which allowed the passage from local and regional networks into a national one. More specifically, it deals with how the development of the fine arts in Boston, Philadelphia and New York were based on religious and pastoral ideas and ideologies, as well as on social and cultural stereotypes and conceptions which defined art and the artist. This dissertation shows how the social origins of patrons and the restructuring of society in the nineteenth century played a pivotal in this construction. The arrival of new social groups originating from the industrialization of the country affected the role of artists inside society, as well as their cultural mission and their relationship with the public. This study also shows how new socio-professional categories, such as critics and illustrators, emerged from this new economic context and altered the position of the artist in society with the rise of the printed press. The economic power of these industrial patrons also enabled them to use their investments inside the fine arts to justify and affirm of their new social positions, while also injecting inside the art market strategies and logics from their businesses, thus affecting the functioning of the system.

No description available.

This thesis investigates discourses surrounding upper and middle class Afrikaner women living in Johannesburg during the years 1948, 1949 and 1958. It uses magazines aimed at upper and middle class women as primary sources and also makes use of interviews with upper and middle class women who lived in Johannesburg during 1948, 1949 and 1958. The thesis uses women's magazines, educational magazines and church magazines, as well as the Vrou en Maeder magazine, mouthpiece of the Suid Afrikaanse Vrouefederasie. Conclusions are drawn about the status and role of Afrikaner middle class women in society, as well as the value systems operating at the time. Differences in discourse and changes over time are accounted for. The thesis also draws attention to the importance of using gender as an historical category, and attempts to broaden the method of history by utilising discourse analysis. / History / M.A. (History)

Scholars for decades have studied the achievement gap and attempted to explain it in regards to race and class. Throughout the existing literature regarding the achievement gap between black and white students, however, there is a dearth of research exploring why the gap exists for upper-class black students; this population is largely ignored. This research seeks to explain why an achievement gap exists between white and black students who come from households of similar incomes. Ten students (five white and five black gradates) of a private, non-parochial school in Washington DC are interviewed about high school and post-high school experiences. Using cultural capital and labeling theory frameworks, this study follows the work of Billings (2011), Pattillo-McCoy (2000), Lacy (2007), and Khan (2011) in their focus on black students, cultural capital, and embodied privilege, and builds on that of Lensmire (2012), Dixon-Roman 2014, Orr (2003) Adams (2010) and Tyson et al. (2005). Results uncover the uniquely complex configuration of class and race. Latent issues as a result of race can arise, and the research illustrates how they affect the achievement ideology and attainment of both black and white students. This study’s findings suggest that two mechanisms shape the achievement gap: academic support and social interactions and interpretations, with the former rooted largely in class differences and the latter rooted in racial differences. This study aims to improve our understanding of the distinct role race and class play in influencing educational and professional outcomes from upper-class backgrounds.

L’étude porte sur les voyelles orales à double timbre dans le français parisien contemporain. La littérature rapporte une simplification du système phonologique dû à la perte progressive des oppositions dans les paires /a, ɑ/, /e, ɛ/, /ø, œ/ et /o, ɔ/ (Armstrong 2001). Une analyse en temps apparent de nouvelles données phonologiques provenant de 12 locuteurs de la haute bourgeoisie parisienne, permet de tester si la même tendance se manifeste dans les usages d’un milieu socialement favorisé et clos, et ainsi reconnu comme linguistiquement conservateur (Labov 1972, Milroy & Milroy 1992). Les données ont été produites dans différents contextes, allant du très formel à l’informel, et ont été soumises à des analyses acoustiques. L’analyse révèle que la perte des opposition phonologiques affecte moins les pratiques linguistiques des 12 locuteurs que les pratiques d’autres populations. Cependant, le degré de conservatisme linguistique varie selon la variable vocalique : par exemple, pour la paire /o, ɔ/ les usages des 12 locuteurs sont très conservateurs, mais pour la paire /a, ɑ/ ils se conforment aux résultats des travaux antérieurs, l’opposition /a/-/ɑ/ ayant disparu en faveur d’une seule variante antérieure.Une seconde enquête sur les attitudes linguistiques des locuteurs révèle un état de sécurité linguistique très forte au sein de l’échantillon ; quant aux variables vocaliques, une opposition instable va de pair avec un indice d’insécurité linguistique (IIL, Labov 1966) relativement élevé, mais ne rend pas compte des usages individuelles, ce qui met en question l’interprétation traditionnelle du lien entre les pratiques et les attitudes linguistiques. / This dissertation is concerned with the vowels /A, E, Ø, O/ in contemporary Parisian French. Traditionally, the vowels each represent two phonemes, /a, ɑ/, /e, ɛ/, /ø, œ/ and /o, ɔ/, but literature on French phonology reports that the French vowel system is undergoing a simplification by neutralisation of these phonological contrasts (Armstrong 2001). By an apparent-time analysis of new phonological data produced by 12 informants from la haute bourgeoisie parisienne, the study seeks to determine whether this tendency also manifests itself in the behaviour of a socially privileged and close-knit, and as such presumably linguistically conservative, group (Labov 1972, Milroy & Milroy 1992). The data was produced in different contexts, ranging from very formal to informal, and acoustically analyzed.The analysis confirms that neutralisation of vowel contrasts is less common amongst the 12 informants than in other groups of speaker, although the degree of linguistic conservatism depends on the specific vowel. For instance, in the case of the pair /o, ɔ/, the 12 informants display a very conservative behaviour, whereas for the pair /a, ɑ/, the results differ very little from the results of other studies, the /a/-/ɑ/ contrast having practically disappeared.A survey of the informants’ linguistic attitudes reflects a very high level of linguistic security. For each vowel, ongoing change correlates with a relatively high Index of Linguistic Insecurity (ILI, Labov 1966). The ILI cannot, however, account for the individual behaviours; this raises questions about the traditional interpretation of the correlation between a speaker’s ILI and his/her linguistic behaviour.

This thesis investigates discourses surrounding upper and middle class Afrikaner women living in Johannesburg during the years 1948, 1949 and 1958. It uses magazines aimed at upper and middle class women as primary sources and also makes use of interviews with upper and middle class women who lived in Johannesburg during 1948, 1949 and 1958. The thesis uses women's magazines, educational magazines and church magazines, as well as the Vrou en Maeder magazine, mouthpiece of the Suid Afrikaanse Vrouefederasie. Conclusions are drawn about the status and role of Afrikaner middle class women in society, as well as the value systems operating at the time. Differences in discourse and changes over time are accounted for. The thesis also draws attention to the importance of using gender as an historical category, and attempts to broaden the method of history by utilising discourse analysis. / History / M.A. (History)