An exhibition space is neither neutral nor universal and meaning is continually constructed within these mediated spaces. My thesis is an examination of two instances where artists have broken outside the box and carefully crafted unique exhibition spaces within which an intentional dialogue between art works and viewer, art works and space, content and context is established. It considers two twentieth century artists from the United States of America, Mark Rothko and Donald Judd, both of whom rethought and ultimately rejected the mediating constraints prevalent in the conventional exhibition spaces of their time. Seeking to install their work on a permanent basis outside these preexisting, traditional spaces, the alternatives they created -- the Rothko Chapel, Houston, Texas and The Chinati Foundation, Marfa, Texas, respectively -- are predicated, I argue, upon their anarchism and thus the anarchist paradigms of individual autonomy, liberty and non-coercion. In light of their politics, I assess how the core tenet of sovereignty not only had implications for Rothko and Judd -- for it fuelled the drive to create these alternative sites -- but that there are also implications for the viewer. More specifically, after an analysis of the sites I reflect upon the consequences for the spectator in terms of the following: the co-relation between anti-authoritarian ‘open’ social systems and the ‘open’ art experience; the value of directly experiencing anti-representational work; intersubjectivity and the multiplicity of meanings; and last, the temporal nature of the embodied viewing experience.

Concord Pacific Place, a glass wall of tall, thin condominium towers lining the north shore of Vancouver's False Creek, is an urban mega-project being developed on the former Expo '86 lands sold to Hong Kong property magnate Li Ka-shing in 1988. This study examines the local, provincial. federal. and Hong Kong-based cultural, economic, social, and political conditions implicated in the production of Concord Pacific Place and how the mega-project's architecture and artworks refer to these conditions. This thesis argues that Concord Pacific espoused a high-tech self-image as a strategy to challenge the local perception of the mega-project as a Hong Kong-funded development for Hong Kong buyers. This study illustrates how the site's Supermodern architecture and some of its artworks overtly emphasize that the space is a high-tech community and also subtly allude to Chinese transnationality by using inconspicuous references intended to be detected only by Concord Pacific's Hong Kong consumers.

This thesis examines the early career and art criticism of Stella Bloch, an artist. dancer and writer who was active in New York City during the World War One era. I focus on Bloch's most important essays from this period: -'Intuitions" (I 919) and Dancing and the Drama, East &. West (1922). In "Intuitions" Bloch developed a theory of aesthetics based on her study of Nietzsche and Buddhism. Dancing and the Drama, East & West incorporated this theory into the concept of an "ideal drama," which I have analysed as "orientalist." Linking Bloch's anti-colonial "orientalism" to that of her mentor, Ananda Coomaraswamy, I demonstrate that though Bloch's "ideal drama" was an ambitious critique of the social and artistic values of Western culture, it was still caught up in the "orientalist" discourses of the period.

La version intégrale de ce[te] mémoire [thèse] est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Pendant mes études au niveau du Maîtrise, j’ai écrit quatre compositions : (1) Four Pieces for Solo Cello, (2) To Earth : II. Forest pour piano solo, (3) The Centre Cannot Hold pour trois flutes et deux percussionnistes, et (4) To Heaven, pour treize instrumentalistes. Le mémoire suivant est une étude de ces quatre pièces en décrivant mes intentions, en expliquant l’organisation et la structure de la musique, et en soulignant les développements d’orchestrations et de l’harmonie. / Throughout my studies at the Master’s level, I have written four compositions: (1) Four Pieces for Solo Cello, (2) To Earth: II. Forest for solo piano, (3) The Centre Cannot Hold for three flautists and two percussionists, and (4) To Heaven for thirteen instrumentalists. This document will be a study of those four pieces, and will explain the organization and structure of the music, while highlighting various orchestral and harmonic developments.

Ce texte présente une analyse de quatre de mes compositions réalisées pendant la maîtrise. Les pièces choisies abordent la musique de chambre, la musique orchestrale, et la musique vocale. La mise en pratique des connaissances assimilées pendant la formation est mise en avant à travers une étude sur la forme, le développement thématique, l'harmonie, et l'orchestration de chaque pièce. De plus, j'ai souhaité par l'analyse de mes compositions, partager mon approche du processus créatif et donner une meilleure compréhension de ma musique à l'auditeur. Ainsi, exposer les références multiples aux musiques des Ballets russes du début du XXe siècle dans L'Odyssée d'un songe, ou montrer par exemple les nombreux figuralismes réalisés dans Nuit de neige permettra je l'espère à l'auditeur de mieux cerner mon travail et d'approfondir l'écoute de ces pièces. Aussi, j'espère faire ressortir dans ce texte la présence de certaines constantes dans mes compositions, de manière à mettre en avant le développement de mon langage personnel. / This document presents an analysis of four of my compositions written during my studies at the Master’s level. The chosen works include chamber music, orchestral music, and vocal music. The implementation of learned techniques is emphasized through a study of form, thematic development, harmony, and orchestration of each musical piece. Furthermore, I wished with the analysis of my compositions, to share my approach to the creative process and thereby give the listener a better understanding of my music. For example, it is hoped that an account of the multiple references to early 20th century Ballets Russes music present in L'Odyssée d'un songe, or a discussion of the numerous examples of figuralismes in Nuit de neige, will allow the listener to better identify my work and to listen to these pieces with a deeper understanding. Also, I hope to highlight the presence of certain constants in my compositions, in the context of which the development of my personal musical language will be made evident.

The purpose of this descriptive qualitative study was to establish guidelines for planning future public school facilities based upon identified global, societal, and educational trends that would most likely highly impact upon the types of public school facilities that will be built in the future. Based upon an extensive literature review, interviews with educational practitioners and facility specialists, and on-site visits to 15 schools in four states, 66 guideline elements were developed. These elements were submitted in a questionnaire/rating sheet format to a researcher-selected jury of 13 national educational facility planning specialists (100% Response Rate) for their evaluations. The five sections for which the final set of guidelines were established were: (1) Planning, Design, and Site Selection; (2) Environmental Enhancement Factors; (3) Space Utilization; (4) Technology; and (5) School and Community Service Areas. The findings were that all 66 guidelines were rated as essential, highly desirable, or significant by the jurors. The major conclusions reached from the study were several: (1) Educational practitioners advocated systematic, proactive, long- and short-range facility planning. This planning should be broad-based and pluralistic with flexibility, mobility, and adaptability as the cornerstones of the school design process. All planning should be based on both "hard" and "soft" data. Planning should also be both bottom-up and top-down with maximum information shared with the stakeholders. (2) Aesthetic, psychological, and behavioral environmental enhancement factors were key areas in future school designs. Facilities should be student-centered and "user-friendly" with an external welcoming appearance. The selection of the school site was extremely important, also. (3) Schools should be designed to offer optimal comfort to all inhabitants with flexible spaces where teachers and students can learn, relate, and explore. Schools and communities should share resources if possible.

This study sought to examine leadership through the medium of film, specifically the genre of the western. The western is iconographic; representative of the American ethos, the western embodied the "frontier myth." The purposes of this study were to examine how leadership was portrayed in a selected sample of western films dating from 1945 to 1995, and to categorize and characterize the leadership methods exhibited in each film. Qualitative in design, the study was concerned with broad description and discovery. Using observation as the data collection technique and content analysis as the research method, the study examined a sample of 29 pre-selected western films released between 1945 and 1995. Individual samples displaying leadership dynamics were drawn from each film through the use of verbatims and character analysis. Each film was examined for examples of leadership in order to gain a better understanding of the role that leadership played in the western and to ascertain leadership models exhibited in the genre. Conclusions of the study emphasized the diverse portrayals of leadership exhibited through this genre. The western showed a depth of character in relation to leadership, displaying a variety of styles, motifs, and characteristics representative of several leadership theories. Some of the concepts of leadership, and the underlying theories and styles portrayed, revealed a universal quality about leadership that transcended theoretical research. The western was a multi-faceted venue through which to study leadership, providing a unique perspective on the dynamics involved in the leadership process both through theory and by praxis.

This study reviews the tenents of adult learning. Christian education and creative drama and presents the observation that there are parallel objectives in each of these three major areas. Noting that creative drama is rarely used in adult Christian education, which is primarily cognitive-based and lecture-discussion oriented, the study proposes the application of creative drama strategies to provide an alternative experiential learning process and therefore create a drama strategies to provide an alternative experiential learning process and therefore create a balance of focus between cognitive, affective, reflective and active learning styles in adult Christian education. It also suggests that through the application of creative drama strategies teachers may more effectively realize the intentions of Christian education: to nurture sensitively aware individuals who are continually growing in faith and empathic love for others. Extant theoretical writings about the practice of creative drama and also literature dealing with the principles and intentions of adult Christian education are reviewed for this study. In the process of surveying current theory and practice in adult evangelical Christian education, the study elaborates on its two basic concerns: adult learning and Christian education. The study discloses a discernible gap between theory and practice through which creative strategies in adult evangelical Christian education have fallen. The study advances the conclusion that this gap may be addressed by application of the creative drama process. Creative drama is presented as one viable means of refreshing individual adult creativity and adult group creativity in Christian education and as an additional way through which to nurture empathic awareness and personal spiritual growth. The underlying assumption is that creative drama is a powerful, often neglected, tool by which adult evangelical Christian education groups may be stimulated to more effective learning and growth. Creative drama, adult learning, and Christian education converge in this study to present an advantageous educational angle. Creative drama is an improvisational, non-exhibitional, process-centered form of drama in which participants are guided by a leader to imagine, enact and reflect upon human experiences. Built on the human impulse and ability to act out perceptions of the world in order to understand it, creative drama requires both logical and intuitive thinking, personalizes knowledge, and yields aesthetic pleasure. The strategy clearly interfaces with current findings in adult learning which represent the effective teacher as a facilitator who seeks to guide the adult learner toward more enhanced self-direction and growth rather than primarily as a disseminator of information who seeks to lead the learner into gaining more knowledge. Adult development findings reveal that adults learn best when their needs and interests are considered, their backgrounds, skills and knowledge are recognized as key resources, and they engage in active problem-solving. Likewise, creative drama draws its framework and impetus from similar concerns of the participants, using their interests and resources as the basis for enactment. In another venue, the intention of evangelical Christian education is to nurture believers toward higher levels of faith development, enhanced integrity in moral behavior, and clear exhibition of genuine love and service toward others. In a similar vein, creative drama also seeks personal growth and moral development through empathic awareness in enactment. Hence, the potential for achieving the ideal outcomes in the fields of adult education, and specifically adult Christian education, is more realizable with the application of the creative drama process to adult Christian education. In the course of literature review and the establishment of a rationale for considering the integration of the creative drama process as an instructional strategy in adult evangelical Christian education, additional ancillary, yet significant, aspects of personal and group growth and awareness are considered as part of the affective learning process and therefore discussed in terms of their applications to the proposal. These aspects include: major learning styles, the experiential learning cycle, adult development, group ctynamics, moral education, creativity development, play and the dramatizing impulse, imagination, metaphor, and empathic awareness and sensitivity. Each is considered as an important link in the connection of the creative drama process to adult evangelical Christian education. The study then lays out potential guidelines for the application of the creative drama process as an instructional strategy in adult Christian education. The potential benefits of creative drama are considered in the processes of determining educational objectives and setting up instructional guidelines for the adult student in the Christian education context. The guidelines include: considerations for effective adult motivation, establishment of positive physical and emotional atmosphere for creative experiential learning, and the sequential process for creative role-playing from warm-up, through enactment, to final evaluation. Suggested specific applications of creative drama in Christian education are presented with extensive sample lesson plans, including the rationale and implementation of guidelines for each step. The study concludes with suggested future research and training to achieve the potential of inculcating creative drama techniques in an adult evangelical Christian education context on a more systematic basis and over a broader scope of application. Recommendations are made for future publications and presentations in order to raise awareness of the need find potential effectiveness of more creative and experiential strategies in adult Christian education as well as to train for better teaching and leadership in those areas.

Combining quantitative sociophonetic methods and a qualitative, ethnographic acpproach to the study of language and social relations, my current research program focuses on the role of language in competing hip hop cultures. This research draws on early scholarship in cultural studies (Hebdige 1979), as well as what some have termed post- subcultural studies (Muggleton & Weinzierl 2003). Central to my own work are two theoretical concerns shared by these currents of scholarship, including: (1) How sociohistorical forces (including institutionally-mediated social action) shape cultural frameworks for symbolically staking out a position in the social landscape (2) How prominent social positioning in local cultral hierarchies shapes popular ideas regarding such intersecting notions as authentcity and indigeneity Regarding the first of these concerns, I examine how popular hip hop artists reflexively bring into focus a repertoire of spatialized social practices by rapping about them in their music -- a discursive practice I term metastylistic discourse. By selectively rapping about social practices indexical of their experiences of place, not only communicate a particular take on the local (i.e. their own); they directly position social and indirectly position soicolinguistic practices centrally among stylistic practices distinguishing Houston aeshetically from the cultural forms associated with other scenes. Central here is the second concern I share with current approaches to cultural studies, particularly, the significance of where social actors (i.e. established artists) find themselves in local social hierarchies. Established artists shape and reshape ways of talking about local life partly through econtextualizing prior texts. It is through the circulation of such texts that a discursive framework emerges, the product of a trans-modal series of recontexutalizations which serve to communicate an experience of Houston, what it looks and sounds like. In short, my current project works to close the gap between sociolinguistic approaches to the formation and interrogation of stylistic norms and research in cultural studies along these same lines (Hodkinson 2003, Piano 2003). By examining these processes in the context of hip hop, my work illustrates how social actors shape cultural norms through performance

Theme and Variations is arguably one of the oldest musical forms in music history. Composers have used certain themes repeatedly as thematic sources for variations. Among them, Paganini's Caprice No. 24 in A minor is certainly the best known, since the theme has inspired many composers for variations of their own. The purpose of this study is to analyze different sets of Variations on Paganini's theme by Franz Liszt, Witold Lutoslawbski, Johannes Brahms, and Sergei Rachmaninoff, in order to examine, identify, and trace how far an original idea can be stretched by using different variations techniques and their applications. Liszt transcribed Paganini's 24th Caprice for the piano, adding a multi-layered sound to the original Caprice. His treatment of the Paganini theme is the most literal. Lutoslawski's Paganini Variations is written for duo piano. This piece builds on Liszt's transcription technique: it stays close to the original Paganini Caprice, but at the same time overlays many 20 th century compositional devices such as atonality and complex rhythmic devices. Lutoslawski carries Liszt one step further away from Paganini's original theme. In his Variations on a Theme of Paganini, op. 35, Brahms keeps the clear structure and strong harmonic progression of the original theme, but carries his invention further away from the source than Liszt and Lutoslawski. His compositional technique includes adding new harmonies within the harmonic structure, marking different tempo indications and meter changes, playing with a variety of rhythm and motives, as well as accentuating the harmonic progression and the bass progression. Rachmaninoff's Rhapsody on a Theme of Paganini, Op. 43 is the most personal. He places greater emphasis on the melodic and motivic elements of the theme, and nearly exhausts every option of transformation. Rachmaninoff's extensive development represents the furthest point away from Paganini's source.