Thesis (M.A.)--University of Oregon, 2002. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 74-75). Also available for download via the World Wide Web; free to University of Oregon users.

Narratives are there in everyone's lives. They are made up of stories that interest us, stories that we want to share with others. However, narrative is not only limited to the written or spoken word. It is made up of a complex system of units and devices which can be explored in many different genres and media. One such medium is Architecture. This thesis is an investigation in decoding the elements that are essential for a narrative. Comparing and analyzing the concept using other medium especially the cinematic medium as a point of reference to understand how it can be applied to architecture. Testing out these discoveries to create a visual arts school in Lugano. / Master of Architecture

Thesis (Ph. D.)--Bryn Mawr College, 1994. / Vita. Includes bibliographical references (leaves 575-615).

The purpose of this study was to describe how meaning was socially constructed within a task-based small cooperative learning group. The group was composed of five native English and English as a Second Language speaking teachers and teachers-in-training enrolled in a graduate course entitled "Curriculum Development for Heterogeneous Classes" in the Teacher Education and Curriculum Studies Department in the School of Education at the University of Massachusetts. This study examined the claim that participants in cooperative learning groups must be willing to set their personal beliefs, desires, and agendas aside in order to focus their attention on the learning needs of their peers and to shift the attention of their peers to explicitly relevant information (Gee, 1990). Further, groupwork is described as an interactional experience that involves conflict, tension, and individual risk-taking behaviors (McCutcheon, 1995). This study examined the claim that these behaviors can have a positive effect on a group's process when the willingness to analyze conflict and tension through the risk-taking process of revealing one's experience, perception, and self are present (McCutcheon, 1995). This study researched these claims by investigating the discourse of a small cooperative learning group in this course. This study provides an ethnographic thick description of the normative patterns that emerged through the group's work. These include the communicative norms that were co-constructed prior to and after the naming and analyzing of conflict. The results of this study reveal that participants were willing to focus their attention onto the needs of their peers and were willing to focus the attention of their peers to explicitly relevant information after conflict was named. Analyzing conflict was not easily obtained in this group. Members avoided and resisted this process. However, naming conflict was seen to have a purpose in this cooperative learning group and provided a rich source of insight about the complexities of conflict, tension, and individual risk-taking behaviors in cooperative learning settings composed of native English and English as a Second Language speaking learners.

El proyecto consiste en el diseño de una Escuela de Artes Escénicas en el distrito de Independencia. Este posee una zona educativa, zona de difusión y espacios de recreación. Tiene como objetivo principal generar un estímulo al artista a través de la forma del espacio arquitectónico, las interrelaciones visuales, el color, la relación y organización espacial que permita lograr un entorno más didáctico para lograr la interacción del artista con el espacio y así este lo transforme en su escenario. Asimismo, se encuentra en una zona privilegiada con vías importantes que logran conectar al proyecto con otros distritos cercanos, además de contar con cercanía a la zona residencial, identidades educativas y comerciales, lo cual convierte al proyecto en un punto importante en su entorno, además de lograr la inclusión de todos los usuarios debido a la creación de plazas y áreas libres. / The project consists of the design of a Performing Arts School in the district of Independencia. This has an educational area, area of diffusion and recreation spaces. Its main objective is to generate a stimulus to the artist through the form of architectural space, visual interrelations, color, relationship and spatial organization to achieve a more didactic environment to achieve the interaction of the artist with space and so this transform in your scenario. It is also located in a privileged area with important roads that connect the project with other nearby districts, in addition to having proximity to the residential area, educational and commercial identities, which makes the project an important point in its surroundings, as well to achieve the inclusion of all users due to the creation of places and free areas. / Tesis

Den här studien syftar till att belysa hur musiklärare som undervisar grupper med funktionsnedsatta elever, förhåller sig till sin egen musikundervisning. För att närma mig musiklärarnas olika förhållningssätt valde jag att använda den kvalitativa intervjun som forskningsmetod. Hanken och Johansens (1998) kategorier för den pedagogiska grundsynen hos en musiklärare utgör en stor del av de teoretiska utgångspunkterna för studien. Jag har bland annat jämfört och placerat in informanterna i Hanken och Johansens kategorier för att på så sätt få fram en tydligare bild av informanternas undervisning. Resultatet visar tydligt att elevernas funktionsnedsättning inte påverkar målet med informanternas undervisning. Det som skiljer musikundervisning för elever med funktionsnedsättning från elever utan funktionsnedsättning är framförallt undervisningssättet och metoden. En slutsats jag kommit fram till är att det krävs en grundläggande kompetens i musikämnet, och framför allt en vid pedagogisk grundsyn samt ett intresse och engagemang för den enskilde elevens situation för att kunna bemöta och tillgodose dennes behov. / The purpose of this study is to highlight how music teachers who, when teaching groups of disabled pupils, relate to their own education. In approaching the teachers’ various relations to their education, I have chosen to use the qualitative interview as my research method. A large extent of the theoretical foundation in this study is based on Hanken and Johansen’s (1998) categories for the pedagogical fundamental view as a music teacher. In order to obtain a clearer understanding of the teachers’ education, I have compared and placed the teachers included in this study, into these categories. The result clearly shows that the disabilities of the pupils do not affect the objectives in regard to the teachers’ education. That which distinguishes the education for pupils with disabilities from pupils without disabilities, is primarily the teaching method. I have concluded that, in order to meet the needs of the pupil, basic competency in music is a prerequisite and above all, a pedagogical fundamental view and an interest and commitment to the situation of each individual pupil.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Like Art, Architecture has the potential to impact people. Art is often considered the process of consciously arranging elements in a way that appeals to the senses or emotions. Architecture can also be described similarly. However, the key difference between Art and Architecture is that while Art is pure personal expression, Architecture carries with it a certain accountability towards its immediate context and inhabitants. While a painting begins and ends on a canvas, Architecture cannot stop at a whim; it must transform from imagination to tangible reality. This process brings with it, a set of constraints imposed by structural, climatic, socio-economic aspects, construction methodologies and material properties, amongst others. These constraints call for fine-tuning of the design. The sophistication and elegance used to handle these constraints differentiate a "building" that poses as a mere visual sculpture in isolation, from "architecture" that evolves as a response to its context and people. Matthew Frederick (2007) says, "being genuinely creative requires something different from conventional, authoritarian control; a loose velvet tether". The "velvet tether" possibly represents the constraints that need to be navigated through, during the realization of the project. The central focus of this thesis is to explore how to address some of those constraints, through the design of a school campus for students of music and dance. The program includes practice, rehearsal and classroom spaces for music and dance, administrative spaces and a library. Themes explored as part of the design development process include architectural form, materiality and detailing. / Master of Architecture

Made available in DSpace on 2014-08-20T13:48:05Z (GMT). No. of bitstreams: 1 CLARICE REGO MAGALHAES_Tese.pdf: 13541381 bytes, checksum: 63af6dbb5b59bafd36dbfbfa38129b8e (MD5) Previous issue date: 2013-02-25 / This thesis is a study about the Fine Arts School of Pelotas Escola de Belas Artes de Pelotas (EBA or EBAP) , a higher education art teaching institution that had great importance to the visual arts development in the city of Pelotas, being at the origin of the present Centro de Artes of the Universidade Federal de Pelotas (CEARTE/UFPEL). The work inserts itself in the teaching institutions history field and is anchored to the theoretical proposal of Cultural History and Education Sociology. The time period examined runs from1949 to 1973, limits that correspond respectively to the year of the foundation and the year when the private school became a federal institution, being incorporated to the Universidade Federal de Pelotas. The thesis aims to understand why EBA embraces academicism as its art style and pedagogical method in the mid 20th century, when modern art is being generally embraced, and keeps this preference until the end of the sixties. It also seeks to ascertain how the School has been kept functioning during its 24 years of existence being private and free of charge. The work has been developed by means of collection and analysis of documents. The main source of the documents are the institution‟s archives, the founder‟s family records, interviews with people that lived the School‟s genesis and evolution, newspaper material of the period, and the founder‟s diary. We reached the conclusion that the EBA not only has been founded but also has been maintained thanks to the efforts of Pelotas‟ cultural elite which supported and effectively participated in the project, always under the leadership of Dona Marina de Moraes Pires. This participation occurred in such a way, in such a close relationship, that EBA configured itself as a reflection of that elite, being made in its image and likeness, with the same values, the same mentality and from the same imagination. Hence, the characteristic academicism of the institution, of its teaching form and artistic production has been determined by factors that existed in the society within which it arise and developed itself, such as conservatism. And the School, being a higher education art teaching institution, legitimates academicism, thus influencing the History of Art in Pelotas. / Esta tese é um estudo sobre a Escola de Belas Artes de Pelotas (EBA ou EBAP), instituição de ensino de arte de nível superior que teve grande importância para o desenvolvimento das artes visuais da cidade de Pelotas, sendo a origem do atual Centro de Artes da Universidade Federal de Pelotas (CEARTE/UFPel). O trabalho se insere no campo de estudo da história das instituições educacionais, e está ancorado na proposta teórica da História Cultural e na Sociologia da Educação. A delimitação temporal é de 1949 a 1973, correspondendo às datas de sua fundação e de sua federalização, quando deixa de ser uma escola particular e passa a fazer parte da Universidade Federal de Pelotas. Os objetivos da tese são entender por que a EBA adota o academicismo como seu estilo e método pedagógico, em meados do século XX, época de adoção do modernismo, e o mantém até o final dos anos sessenta, e também descobrir como a Escola se manteve em funcionamento durante os seus 24 anos de existência, sendo particular e gratuita. O trabalho foi desenvolvido por meio da coleta e análise de documentos. As principais origens dos documentos são o acervo da Instituição, o acervo da família da fundadora, entrevistas realizadas com pessoas que viveram a gênese e a trajetória da Escola, matérias de jornais da época e o diário da fundadora. Conclui-se que a EBA foi não só fundada, como também sustentada, pelos esforços da elite cultural pelotense, que apoiou e participou efetivamente do projeto, sempre sob a liderança de D. Marina de Moraes Pires. Esta participação se deu de tal modo, em uma relação tão estreita, que a EBA se configurou como um reflexo desta elite, sendo construída à sua imagem e semelhança, com os mesmos valores, mentalidade e a partir do mesmo imaginário. Assim, o academicismo característico da Instituição, de sua forma de ensino e de sua produção artística, foi determinado por fatores existentes na sociedade em que surgiu e se desenvolveu, dentre os quais o conservadorismo. E a Escola, sendo uma instituição de nível superior de ensino de arte, legitima o academicismo, influindo assim na História da Arte em Pelotas.