Proefschrift--Sociale wetenschappen--Katholieke universiteit Nijmegen, 1991. / Résumé en anglais.

Thesis (B.A.Hons.) -- University of Adelaide, Dept. of History, 1973.

During 1987 my essential beliefs about the nature of the world were challenged by a chance event which led to my arrival in Arnhemland. Working with Aboriginal people allowed me to see first hand the failings of Western ideas in Aboriginal education and health. This is how a 12 year collaboration with Aboriginal people began. The aim was to search for answers to the question, 'Why so many ideas that had been successfully used in the Western world, fail to meet the needs of aboriginal people? My experiences prior to 1995 had led me to believe that Both Ways, an education pedagogy developed in teacher education, was the best approach for empowering Aboriginal Health Workers. I believed Both Ways gave Aboriginal Health Workers a means to develop solutions to aboriginal health issues which valued and respected their aboriginal knowledge. I needed to describe and evaluate the practice of both ways with Aboriginal Health workers for the purpose of proving the benefit of this pedagogy for other educators in this field. This thesis describes how I came to think Both Ways was a good idea; how I defined Both ways; and how I put it into practice. It also provides a description of the issues raised in my critique of Both Ways and in my attempts to provide answers to these issues. Several years of collecting data, including records from action research group discussions, participant observation, interviews with peers and students, and formal evaluations left me with many concerns about Both Ways. As educators follow my journey of discovery I hope that they will recognise experiences and insights that they themselves have shared. The descriptions and discussions in this thesis will add significantly to the overall discourse about health worker education. Similarly, the exploration of ideas beyond Both Ways will add significantly to the overall body knowledge about the power relationships involved in teaching in a cross cultural setting / Doctor of Philosophy (PhD)

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Thesis (Ph. D.)--Australian National University, 1978. / Includes bibliographical references (leaves 406-412).

Collective title supplied by cataloguer. / Includes bibliographical references and indexes. / Charles Pearcy Mountford (1890-1976), OBE, Dip. Anthrop. (Cantab), MA (Adel.), D. Litt (Melbourne and Adelaide), was an ethnologist and anthropologist who advanced from amateur status to become an important figure in the field of anthropology in Australia. He was born at Hallett in 1890. His field work was conducted in South Australia, Western Australia and the Northern Territory from 1925-1963. His published works were based on the journals and photographs he made on these expeditions. Mountford was a founding member, and later president of the Anthropological Society of SA; and founder of the Australian Anthropological Society in 1936. / 8 v. : / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / A collection of monographs, created by a dedicated amateur ethnologist and anthropologist. Mountford developed his appreciation of Australian Aboriginal people and their customs, beliefs and art over many years of expeditions, making it his life's work. Although he didn't receive formal qualifications until later in life, Mountford conducted numerous expeditions to central Australia and Arnhem Land, including north east Arnhem Land. He was determined to record Aboriginal culture. / Thesis (D.Litt.)--University of Adelaide, 1976

Made available in DSpace on 2016-03-15T19:44:15Z (GMT). No. of bitstreams: 1 Patricia Helena Soares Fonseca Rossi de Resende.pdf: 62523943 bytes, checksum: 784ac7497ee4509b2c9a1c082a463213 (MD5) Previous issue date: 2014-02-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation studies the fashion system development and its relationships with the art field. It analyses how the modern fashion system structure was founded by the Universal Exhibitions and the first department stores. It also shows how the fashion designers Charles Fréderic Worth e Paul Poiret built their artistic images, and states that these relationships were used to give an art status for their work. This research also verifies how the interdisciplinary practices of both Worth and Poiret established standards for the referred practices in contemporary fashion; it analyses the interdisciplinary dialogues present in fashion exhibitions located in art museums. It also considers the Arhem Mode Biennale and its connections with the fashion system and it concludes pointing out the importance of fashion exhibitions for the renewal and perpetuation of the fashion system. / Aborda a evolução do sistema de moda e sua relação com a arte. Analisa o surgimento das primeiras lojas de departamentos a partir da implementação das exposições universais e como ambas fundaram a estrutura do sistema de moda moderno. Demonstra como os estilistas Charles Fréderic Worth e Paul Poiret moldaram suas imagens de grandes criadores a partir da relação com a arte e seus atores, e argumenta como essas relações foram utilizadas para dotar seu trabalho comercial da distinção e status do objeto artístico. Verifica como as práticas interdisciplinares de Worth e Poiret estabeleceram parâmetros para as transferências de linguagens entre arte moda na contemporaneidade. Analisa essas transferências interdisciplinares a partir da instalação de mostras de moda em museus, nas últimas décadas do século XX. Aponta como essas mostras levantaram discussões das fronteiras ontológicas entre moda e arte. Finaliza com uma análise sobre as bienais de Moda de Arnhem e suas relações com a arte e o mercado de moda. Conclui estabelecendo a importância das mostras de moda para a renovação e perpetuação do sistema e do mercado de moda.

The aim of this thesis is to explore the role of the diagrams as generative design tools in architectural design process. Identifying the utilization of the diagrams as infrastructural and organizational elements in the design process, it aims to be concentrate on their potency for generating novel design concepts. The search has been for the possibilities of design processes developed and manipulated not through analytical use of diagrams that represents the already established relationships but through their generative use that is responsible for the proliferation of ideas for novel design concepts. The alteration in the definition of diagrams, their active role in the generation of design ideas, and their progression during the design process, as well as the ways in which they contribute to the delay of formal concerns through the practice are scrutinized. In order to explore the generative and mediating roles of diagrams in architectural design practice, this thesis examines the utilization of diagrams by exemplifying the strategies of UN Studio. Through exploration of their pioneering projects, the M&ouml / bius House, the Arnhem Central Station and the Mercedes Benz Museum, it aims to unfold their design methods regarding diagrams. Diagrams are examined in terms of the way they are utilized and operated from conceptualization to building. While standing at a critical distance, it argues for an architectural design process where design ideas are formed and evolved by utilization of diagrams as generative tools from the initial phases of the design to the actualization of the building.

Thesis (Ph.D.)--Australian National University, 2005.

Au cours de l’élaboration des peintures rupestres, divers matériaux colorants peuvent être mobilisés et produire des vestiges archéologiques liés aux différentes étapes de la préparation de la matière picturale. À Nawarla Gabarnmang, site majeur d’art rupestre Jawoyn (Terre d’Arnhem, Territoire du Nord – Australie), les fouilles archéologiques ont mis au jour un grand nombre de ce type de vestiges. La séquence archéologique, obtenue par datation au 14C, a révélé la présence de dépôts culturels parmi les plus anciens connus en Australie, avec une occupation du site qui s’étend de ≥48 000 ans cal BP jusqu’au début du XXème siècle. Plafonds et piliers du site présentent plusieurs générations de peintures ; les plafonds du site contiennent à eux seuls près de 1400 entités graphiques. La place de cet art interroge : est-il l’expression des premiers Hommes arrivés sur le continent australien il y a près de 50 000 ans ou le témoin d’occupations plus récentes ? Caractérisé par la superposition de plusieurs générations de peintures qu’on ne peut dater de manière « directe » en raison de la nature minéralogique des composants des peintures, la définition de leur chronologie constitue un fort enjeu de recherche. Menés d’emblée dans une approche intégrée, les premiers travaux ont permis d’étudier la chronologie et la nature des occupations, via les fouilles archéologiques, d’identifier les aménagements réalisés au cours des différentes phases d’occupation et de mettre en avant la richesse et la diversité de son répertoire artistique de même que l’abondance et la variété des vestiges associés à l’art rupestre. Afin d’appréhender au mieux la temporalité et les usages du site de Nawarla Gabarnmang depuis les premières occupations préhistoriques jusqu’aux fréquentations subactuelles, l’analyse des matières colorantes et colorées, retrouvées dans les carrés de fouille réalisés sous les panneaux peints des plafonds ou à l’aplomb des piliers décorés, permet de reconstituer les étapes de la chaîne opératoire ayant produit les matières picturales : de la source d’approvisionnement en matières premières, aux modes de transformation et de préparation (broyage, mélange avec charges et/ou liants, traitement thermique) jusqu’à leur application. La stratégie méthodologique mise en place couvre un large panel de techniques de caractérisation physico-chimique pour répondre aux problématiques soulevées par les différents vestiges associés à l’art rupestre. De l’observation macroscopique aux micro-analyses non invasives couplées à des analyses structurales, en passant par des techniques basées sur le rayonnement synchrotron, l’étude menée sur les matières colorantes et colorées a permis de révéler une diversité et une complexité de phases minérales utilisées dans l’art rupestre de Nawarla Gabarnmang. Croisée avec les données archéologiques, anthropo-géomorphologiques et pariétales, elle permet de proposer un cadre chronologique des différentes générations de peintures en lien avec les phases d’occupation qui ont marqué l’histoire du site. L’analyse des matières colorantes et colorées réalisée au cours de cette thèse constitue un vecteur de connaissances importantes et livre des informations complémentaires aux approches archéologique, géomorphologique et pariétale menées sur le site de Nawarla Gabarnmang. Les informations apportées par l’étude de ces matières permettent de renseigner tant sur les évolutions techniques et comportementales que sur l’implication culturelle de ce site, aussi bien dans ses dimensions spatiales que temporelles. / In the making of rock art, raw colouring material is used, thus providing many artifacts related to different steps of elaboration of pictorial matter. In the case of the important rock art site of Nawarla Gabarnmang in the Jawoyn country (Arnhem Land, North Territory – Australia), excavations have revealed a large number of such artifacts. The archaeological sequence from the floor deposits, radiocarbon-dated from ≥48,000 cal BP to the early twentieth century, has revealed some of the oldest known cultural deposits in Australia. The ceilings of the site contain well over 1400 still-visible paintings in multiple, superimposed layers. Countless additional paintings cover many of the rock pillars’ walls. This art raises questions: is it an expression of the first humans arrived on the Australian continent 50,000 years ago, or the evidence of recent occupation periods? Characterized by a succession of overlaid motifs, which cannot be “directly” dated because of the mineralogical nature of the rock paintings’ components, the determination of the age of the rock paintings represents a major issue. Through an integrated approach to the matter, the first results of the archaeological excavations enabled to study the chronology and the nature of activities, to identify the origins and transformations of the sheltered space through time, to highlight the richness and the diversity of its artistic work, as well as the abundance and the variety of the artifacts. To get a better insight into the temporality and the uses of Nawarla Gabarnmang since the first prehistoric activities until the recent periods, the analysis of the colouring and coloured matters, found in trial excavations under the painted panels on the ceilings or at the bottom of decorated pillars, allow us to rebuild the steps of the “chaîne opératoire” leading to the production of pictorial matter: from the sources of raw materials, the methods of transformation and preparation (grinding, mixing with mineral extenders and/or organic binders, heat treatment), to the application on the rock. To answer the questions raised by different artifacts, the methodological strategy includes a large range of microscopic and spectroscopic approaches. Subjected to macroscopic observations and non-invasive micro-analytical techniques along with structural techniques, as well as techniques using synchrotron radiation, the analysis of the colouring and coloured matters has revealed the variety and the complexity of mineral compounds used in the rock art of Nawarla Gabarnmang. Then, cross-referenced with archaeological, archaeomorphological and rock art studies, the physico-chemical characterization allows to suggest a chronological framework for the different superimposed layers linked to the periods of activities that marked the history of the site. The analysis of colouring and coloured matters undertaken by this thesis represents an important source of knowledge and delivers further informations to the geomorphological, archaeological and rock art studies carried out at the Nawarla Gabarnmang. The results provided by the study of these materials bring information as well on technical and behavioral evolutions, as on the cultural involvement of this site, not only in its spatial but also in its temporal dimensions.