Made available in DSpace on 2016-03-15T19:42:00Z (GMT). No. of bitstreams: 1 Ana Carmem Franco Nogueira.pdf: 3646219 bytes, checksum: d7a2897c016e7a3fb07618464cf34b9f (MD5) Previous issue date: 2011-02-21 / Fundo Mackenzie de Pesquisa / The present study investigates the meaning of an experience of art based on works by Lygia Clark, held on a studio for the visual impaired, in a partnership with Projeto Acesso: Educational Support Center Specialized in the Visual Impaired, in Sao Paulo city, Brazil. The research objective was to, through interviews conducted after two years of experience in the studio, receive testimony of two young congenitally blind people about this artistic experience, and its meaning in their lives. The rationale behind this thesis contains a theoretical review on the concepts of experience, aesthetic experience and the experience of space in the body, based on theorists who followed the same line of the phenomenology of Merleau-Ponty. To understand the world of the blind people, we rely on phenomenological about the person with visual impairment of Elcie Masini. The Lygia Clark project was based on researchers who produced studies of her works and their connections with the merleaupontinian phenomenology, describing the context of the arts studio and the development of materials adapted to visually impaired persons. The interviews analysis - whose main line was perceptual experience within the studio - has shown that students understood the Lygia Clark project proposal and were able to invent new forms of expression. The reflections on the meanings of experience in the studio for the research subjects have shown that, for them, art was important as an opening to the world and to expand knowledge / O presente trabalho investiga o significado de uma experiência de arte baseada nas obras de Lygia Clark, ocorrida em um ateliê para deficientes visuais, em parceria com o Projeto Acesso: Centro de Apoio Pedagógico Especializado ao Deficiente Visual, na cidade de São Paulo, Brasil. O objetivo da pesquisa foi o de analisar o que os alunos realizaram no ateliê de artes no período de fevereiro a junho de 2008 e por meio de entrevistas realizadas após dois anos da experiência no ateliê, colher depoimentos de dois jovens cegos congênitos sobre essa experiência artística, e o significado da mesma em suas vidas. A fundamentação desta dissertação contém uma revisão teórica sobre as concepções de experiência, experiência estética e o corpo na experiência de espaço, com base em teóricos que seguiam a mesma linha de pensamento da fenomenologia de Maurice Merleau-Ponty. Para compreender o mundo da pessoa cega, baseamo-nos na abordagem fenomenológica acerca da pessoa com deficiência visual de Elcie Masini. O projeto Lygia Clark foi fundamentado em pesquisadores que elaboraram estudos de suas obras e suas ligações com a fenomenologia merleaupontiana, com descrição do contexto do ateliê de artes e o desenvolvimento de materiais adaptados a pessoas deficientes visuais. A análise das entrevistas cuja linha diretriz foi experiência perceptiva dentro do ateliê evidenciou que os alunos compreenderam a proposta do projeto Lygia Clark e foram capazes de inventar novas formas de expressão. As reflexões sobre os significados da experiência no ateliê para os sujeitos da pesquisa permite afirmar que, para eles, a arte foi importante como abertura para o mundo e ampliação de conhecimento

Business educators need to provide relevant career education and train students adequately for entry-level work and success in a dynamic and changing society. It is imperative, then, we identify those skills, knowledge, and attitudes necessary for success not only in today's office but also in the office of the future. To determine the competencies and skills required, a survey of businesses in the Clark County area was completed. The questionnaire was designed to assess current computer usage and technical and nontechnical skill requirements.

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Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Earth and Planetary Sciences, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND LINDGREN. / 3 maps and 2 ill. inserted in pocket inside back cover. / Bibliography: leaves 182-189. / by Peter Lorentz Guth. / Ph.D.

O presente estudo integra o trabalho artístico desenvolvido ao longo do curso de doutorado. Por um lado, ele aborda o processo desses trabalhos, em papel e em vídeo, procurando informar ao leitor as escolhas presentes na sua realização, bem como, refletir sobre algumas noções que alimentam o processo. São elas: \"ausência de simbolização\", indissociação, desobstrução, fluxo e \"uso de uma forma mínima\". Por outro, em consonância a essas noções, o estudo procura dar conta de um pequeno grupo de nomes da história da arte que por contiguidade conceitual, metodológica ou formal dialoga com o meu processo. São estudados prioritariamente três artistas: Lucio Fontana (1899 - 1968), Roy Lichtenstein (1923 - 1997) e Gordon Matta-Clark (1945 - 1978). As imagens dos trabalhos realizados em papel durante o curso fazem parte desse documento, bem como um DVD com o registro dos vídeos desenvolvidos. / This study is part of the artistic work over PHD course. On the one hand, it addresses the process of this work on paper and on video, seeking to inform the reader the choices present in the implementation, as well as reflect on some notions that feed the process. They are: \"lack of symbolization\", indissociation, unblock, fluxus and \"use of a minimal form\". On the other one, in line with these notions, the study approaches to a group of art historical names that dialogues with my process for conceptual, methodological or formal contiguity. Three artists are studied: Lucio Fontana (1899 - 1968), Roy Lichtenstein (1923 - 1997) and Gordon Matta-Clark (1945-1978). The images of the work done on paper during the course are part of this document as well as a DVD with the developed recorded videos.

O presente estudo integra o trabalho artístico desenvolvido ao longo do curso de doutorado. Por um lado, ele aborda o processo desses trabalhos, em papel e em vídeo, procurando informar ao leitor as escolhas presentes na sua realização, bem como, refletir sobre algumas noções que alimentam o processo. São elas: \"ausência de simbolização\", indissociação, desobstrução, fluxo e \"uso de uma forma mínima\". Por outro, em consonância a essas noções, o estudo procura dar conta de um pequeno grupo de nomes da história da arte que por contiguidade conceitual, metodológica ou formal dialoga com o meu processo. São estudados prioritariamente três artistas: Lucio Fontana (1899 - 1968), Roy Lichtenstein (1923 - 1997) e Gordon Matta-Clark (1945 - 1978). As imagens dos trabalhos realizados em papel durante o curso fazem parte desse documento, bem como um DVD com o registro dos vídeos desenvolvidos. / This study is part of the artistic work over PHD course. On the one hand, it addresses the process of this work on paper and on video, seeking to inform the reader the choices present in the implementation, as well as reflect on some notions that feed the process. They are: \"lack of symbolization\", indissociation, unblock, fluxus and \"use of a minimal form\". On the other one, in line with these notions, the study approaches to a group of art historical names that dialogues with my process for conceptual, methodological or formal contiguity. Three artists are studied: Lucio Fontana (1899 - 1968), Roy Lichtenstein (1923 - 1997) and Gordon Matta-Clark (1945-1978). The images of the work done on paper during the course are part of this document as well as a DVD with the developed recorded videos.

[pt] O objetivo desta dissertação é analisar a relação entre a obra de arte, o artista e o espectador a partir da produção de Lygia Clark e Hélio Oiticica. Esses dois artistas foram escolhidos como objeto de estudo por terem direcionado sua pesquisa no sentido de incluir o espectador como agente modificador e até mesmo criador da obra de arte. Ambos são reconhecidos por propor novas questões a respeito ocupação do espaço real pela obra de arte e pela busca da libertação da bidimensionalidade da tela e da moldura. Esta pesquisa se baseia na idéia de que os dois pintores se tornaram referência para a história da arte no Brasil e investiga suas trajetórias desde a participação no grupo Neoconcreto até seus últimos trabalhos, estudando os problemas propostos na produção de cada um, em especial, no que se refere ao diálogo que estabelecem com o público. / [en] The goal of this dissertation is to analyse the existing relationship between the art work, the artist and the spectator within the context of Lygia Clark s e Hélio Oiticica s work. These two artists were chosen as the object of this study because both were committed to proposing new issues regarding the inclusion of the spectator as a direct agent in the modification and even creation of the art work. They stood out in the artistic world by proposing innovating issues, searching to occupy the real space and free themselves from the bidimensionality of the canvas and the easel. The research is based on the premise that both are current references in the history of Brazilian art and investigates the span of their trajectory, from their participation in the Neoconcrete group up to their last pieces, stressing the problematics involved in each one s work and, specially, to what point they were able to establish a direct dialogue with the public.

In a time of laissez-faire government, monopolistic businesses and political debauchery, William Andrews Clark played a significant role in the developing West, achieving financial success rivaling Jay Gould, George Hearst, Andrew Carnegie, and J. P. Morgan. Clark built railroads, ranches, factories, utilities, and developed timber and water resources, and was internationally known as a capitalist, philanthropist and art collector. Nonetheless, Clark is unjustly remembered for his bitter twelve-year political battle with copper baron Marcus Daly that culminated in a scandalous senatorial election in January 1899. The subsequent investigation was a judicial travesty based on personal hatred and illicit tactics. Clark's political career had national implications and lasting consequences. His enemies shaped his legacy, and for one hundred years historians have unquestioningly accepted it.

This thesis lays out a critique of the libertarian autonomy in Clark Pinnock's open theism. It contends that libertarian autonomy (defined as the choice to do otherwise) is unable to do justice to the fuller sense of freedom described in the biblical narrative. Offering more than a critique, this thesis suggests an alternative definition of freedom by qualifying Karl Barth's "freedom as obedience" as 'freedom as faithfulness'. As such, true freedom is contrasted to the autonomy that leads to evil, and is found beyond the false dichotomy of compatibilism and incompatibilism, heteronomy and autonomy. Freedom is recognized as a good gift of creation and a promise of the eschaton, and thus must be distanced from the shadow of evil which haunts human autonomy. Ultimately, this thesis contends that faithfulness to God as the source and call of life leads to responsive, transformative, and eschatologically unlimited freedom.

This thesis focuses on the continued activism in the YWCA, the Equal Suffrage League and the League of Women Voters after 1920. The work examines the uses of motherhood, social religion, race and traditions as tools for activism and compares the YWCA to the Equal Suffrage League and League of Women Voters after 1920. The date range is roughly from 1915 to 1925.