Esta dissertação analisou como se deu o filosofar na arte das crianças surdas e na busca por práticas estéticas visuais no processo da construção deste filosofar. Para isto, foram realizadas entrevistas (individuais e coletivas) com 10 sujeitos surdos de uma escola municipal de surdos de Gravataí no Estado do Rio Grande do Sul, onde foram apresentadas algumas pinturas dos artistas Da Vinci, Picasso, Portinari e Baird (artista surdo). O objetivo foi o de provocar uma reflexão destes sujeitos, a partir de experiências estéticas, no sentido de que cada um pudesse expressar seus saberes, praticar a vivência do olhar, trazendo suas hipóteses e compreensões sobre as pinturas, observando como estas experiências podiam colaborar para a construção dos filosofares na arte dos sujeitos surdos. Os principais pressupostos teóricos foram os estudos de Michael J. Parsons sobre os níveis estéticos de compreensão da arte, que foram tabulados e sistematizados para uma melhor análise qualitativa dos dados, proposta metodológica optada para a pesquisa. Marly Meira e Walter Kohan perpassam a pesquisa como os alicerces da criação filosófica e o pensar sobre o pensar. Destaco também os estudos de Duarte para a educação do sensível e de Pillar na educação para o olhar. Pôde-se constatar que houve uma notável relação entre as experiências estéticas e os diálogos com a possibilidade de novas compreensões sobre arte e com a criação de novos pensares filosóficos. / This study analyzed the development of the capacity of philosophize in the deaf children art and in search for visual aesthetics practice in the process of constructing this capacity. For this, 10 deaf research subjects were interviewed (individually and collectively) in a municipal deaf school in Gravataí in Rio Grande do Sul state, were they were presented to some pictures from Da Vinci, Picasso and Baird (deaf artists). The goal was to stimulate these subjects to reflect, from aesthetics experiences, in a way of expressing their knowledge and of practicing view experience, bringing their hypothesis and understandings about the pictures and observing how these experiences could contribute to construct the capacity of philosophize in the deaf subject art. The main theoretical support was the Michael J. Parsons’ studies about the aesthetics levels of art understandings which were tabulated and systemized to better qualitative analyses of data. This methodological proposal has been adopted for us in this research. Marly Meira and Walter Kohan’s studies pass through our research as the basis of the philosophical creation and the thinking about the thinking. I would also emphasize the Duarte’s studies in sensitive education and the Pillar’s studies of education for view. We could verify a notable relation between aesthetics experiences and the dialogues with possibilities of new understandings about art and with the creation of new philosophical thinking.

Esta dissertação analisou como se deu o filosofar na arte das crianças surdas e na busca por práticas estéticas visuais no processo da construção deste filosofar. Para isto, foram realizadas entrevistas (individuais e coletivas) com 10 sujeitos surdos de uma escola municipal de surdos de Gravataí no Estado do Rio Grande do Sul, onde foram apresentadas algumas pinturas dos artistas Da Vinci, Picasso, Portinari e Baird (artista surdo). O objetivo foi o de provocar uma reflexão destes sujeitos, a partir de experiências estéticas, no sentido de que cada um pudesse expressar seus saberes, praticar a vivência do olhar, trazendo suas hipóteses e compreensões sobre as pinturas, observando como estas experiências podiam colaborar para a construção dos filosofares na arte dos sujeitos surdos. Os principais pressupostos teóricos foram os estudos de Michael J. Parsons sobre os níveis estéticos de compreensão da arte, que foram tabulados e sistematizados para uma melhor análise qualitativa dos dados, proposta metodológica optada para a pesquisa. Marly Meira e Walter Kohan perpassam a pesquisa como os alicerces da criação filosófica e o pensar sobre o pensar. Destaco também os estudos de Duarte para a educação do sensível e de Pillar na educação para o olhar. Pôde-se constatar que houve uma notável relação entre as experiências estéticas e os diálogos com a possibilidade de novas compreensões sobre arte e com a criação de novos pensares filosóficos. / This study analyzed the development of the capacity of philosophize in the deaf children art and in search for visual aesthetics practice in the process of constructing this capacity. For this, 10 deaf research subjects were interviewed (individually and collectively) in a municipal deaf school in Gravataí in Rio Grande do Sul state, were they were presented to some pictures from Da Vinci, Picasso and Baird (deaf artists). The goal was to stimulate these subjects to reflect, from aesthetics experiences, in a way of expressing their knowledge and of practicing view experience, bringing their hypothesis and understandings about the pictures and observing how these experiences could contribute to construct the capacity of philosophize in the deaf subject art. The main theoretical support was the Michael J. Parsons’ studies about the aesthetics levels of art understandings which were tabulated and systemized to better qualitative analyses of data. This methodological proposal has been adopted for us in this research. Marly Meira and Walter Kohan’s studies pass through our research as the basis of the philosophical creation and the thinking about the thinking. I would also emphasize the Duarte’s studies in sensitive education and the Pillar’s studies of education for view. We could verify a notable relation between aesthetics experiences and the dialogues with possibilities of new understandings about art and with the creation of new philosophical thinking.

Esta dissertação analisou como se deu o filosofar na arte das crianças surdas e na busca por práticas estéticas visuais no processo da construção deste filosofar. Para isto, foram realizadas entrevistas (individuais e coletivas) com 10 sujeitos surdos de uma escola municipal de surdos de Gravataí no Estado do Rio Grande do Sul, onde foram apresentadas algumas pinturas dos artistas Da Vinci, Picasso, Portinari e Baird (artista surdo). O objetivo foi o de provocar uma reflexão destes sujeitos, a partir de experiências estéticas, no sentido de que cada um pudesse expressar seus saberes, praticar a vivência do olhar, trazendo suas hipóteses e compreensões sobre as pinturas, observando como estas experiências podiam colaborar para a construção dos filosofares na arte dos sujeitos surdos. Os principais pressupostos teóricos foram os estudos de Michael J. Parsons sobre os níveis estéticos de compreensão da arte, que foram tabulados e sistematizados para uma melhor análise qualitativa dos dados, proposta metodológica optada para a pesquisa. Marly Meira e Walter Kohan perpassam a pesquisa como os alicerces da criação filosófica e o pensar sobre o pensar. Destaco também os estudos de Duarte para a educação do sensível e de Pillar na educação para o olhar. Pôde-se constatar que houve uma notável relação entre as experiências estéticas e os diálogos com a possibilidade de novas compreensões sobre arte e com a criação de novos pensares filosóficos. / This study analyzed the development of the capacity of philosophize in the deaf children art and in search for visual aesthetics practice in the process of constructing this capacity. For this, 10 deaf research subjects were interviewed (individually and collectively) in a municipal deaf school in Gravataí in Rio Grande do Sul state, were they were presented to some pictures from Da Vinci, Picasso and Baird (deaf artists). The goal was to stimulate these subjects to reflect, from aesthetics experiences, in a way of expressing their knowledge and of practicing view experience, bringing their hypothesis and understandings about the pictures and observing how these experiences could contribute to construct the capacity of philosophize in the deaf subject art. The main theoretical support was the Michael J. Parsons’ studies about the aesthetics levels of art understandings which were tabulated and systemized to better qualitative analyses of data. This methodological proposal has been adopted for us in this research. Marly Meira and Walter Kohan’s studies pass through our research as the basis of the philosophical creation and the thinking about the thinking. I would also emphasize the Duarte’s studies in sensitive education and the Pillar’s studies of education for view. We could verify a notable relation between aesthetics experiences and the dialogues with possibilities of new understandings about art and with the creation of new philosophical thinking.

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Modern flute pedagogy tends to focus on repertoire which utilizes or builds upon tonal and Romantic stylistic conventions, largely ignoring works that disregard or reject these conventions until later in student's education. This lack of stylistic diversity in commonly studied works from the first half of the twentieth century can be problematic when students are approaching avant-garde or modernist repertoire for the first time, as they are unfamiliar with the style and technical needs of the pieces. This dissertation provides a style guide and progressive curriculum for the avant-garde repertoire of the early- and mid-twentieth century to help students bridge the gap from commonly-studied early-twentieth century repertoire to Post-War Modernist works. The curriculum and style guide are accompanied by an overview of avant-garde musical styles prominent in Europe and American between the 1890s and 1970s, a discussion of the pedagogical challenges of avant-garde repertoire, and two performance guides for avant

Assessment of the past helps one seize emerging opportunities. The Southern Baptist Convention's (SBC) Foreign Mission Board (FMB) radically redesigned itself July 1, 1997, the most far reaching self-assessment since its 1845 founding. The FMB's changes neglected some essential historical precedents. In 1892, a band of FMB missionaries posted with the North China Mission resigned and established their own operation. They held and integrated three core values: indigeneity, incarnation, and responsible autonomy. Baptist historians have dismissed these dissidents because they considered them Landmarkers (an earlier movement that threatened the SBC itself). Later historical inquiry corrected this assumption demonstrating that Landmarkers seized the Gospel Mission Movement to serve its own ends not the reverse. What prorrpted these missionaries to leave their base of support and operate independently? Original sources tell the tale of strong convictions about missions that were more commonly apparent later, in a post-modern era. Gospel Missionism's peers did not listen, partly because of the Landmarkist confusion and partly because they advocated things others were not prepared to hear. The Gospel Missioners found it difficult to sustain their experiment outside the SBC. Hence, survivors gradually reentered the FMB structure, primarily the Interior China Mission. Their influence extended to the next generation of missionaries. Yet, indirectly their values entered the FMB's strategies through outside evangelicals which increasingly espoused similar core values. By 1985, the Board tackled the challenge of the least evangelized peoples. Trustees formed Cooperative Services International (CSI) to accommodate the need. Unwittingly, from within the FMB, CSI embodied Gospel Missionism's core values with more modern emphases. In 1997, trustees restructured the FMB and dismantled CSI. They borrowed its drive and its penchant for streamlined administration, but jettisoned its priority passion for those least evangelized. Only time will tell, but there is evidence that the FMB has reverted and embraced elements of an older paradigm, possibly because it was unprepared to face a postmodern future. This study concludes that the Gospel Missionism movement was a blending of both enlightenment and post-modern missiological ideals. It was an incipient, evangelical version of a post-modern missiological paradigm. / Christian Spirituality, Church History and Missiology / D.Th. (Missiology)

Assessment of the past helps one seize emerging opportunities. The Southern Baptist Convention's (SBC) Foreign Mission Board (FMB) radically redesigned itself July 1, 1997, the most far reaching self-assessment since its 1845 founding. The FMB's changes neglected some essential historical precedents. In 1892, a band of FMB missionaries posted with the North China Mission resigned and established their own operation. They held and integrated three core values: indigeneity, incarnation, and responsible autonomy. Baptist historians have dismissed these dissidents because they considered them Landmarkers (an earlier movement that threatened the SBC itself). Later historical inquiry corrected this assumption demonstrating that Landmarkers seized the Gospel Mission Movement to serve its own ends not the reverse. What prorrpted these missionaries to leave their base of support and operate independently? Original sources tell the tale of strong convictions about missions that were more commonly apparent later, in a post-modern era. Gospel Missionism's peers did not listen, partly because of the Landmarkist confusion and partly because they advocated things others were not prepared to hear. The Gospel Missioners found it difficult to sustain their experiment outside the SBC. Hence, survivors gradually reentered the FMB structure, primarily the Interior China Mission. Their influence extended to the next generation of missionaries. Yet, indirectly their values entered the FMB's strategies through outside evangelicals which increasingly espoused similar core values. By 1985, the Board tackled the challenge of the least evangelized peoples. Trustees formed Cooperative Services International (CSI) to accommodate the need. Unwittingly, from within the FMB, CSI embodied Gospel Missionism's core values with more modern emphases. In 1997, trustees restructured the FMB and dismantled CSI. They borrowed its drive and its penchant for streamlined administration, but jettisoned its priority passion for those least evangelized. Only time will tell, but there is evidence that the FMB has reverted and embraced elements of an older paradigm, possibly because it was unprepared to face a postmodern future. This study concludes that the Gospel Missionism movement was a blending of both enlightenment and post-modern missiological ideals. It was an incipient, evangelical version of a post-modern missiological paradigm. / Christian Spirituality, Church History and Missiology / D.Th. (Missiology)

This thesis aims to engage with the poetry of Scotland and Greek-speaking Cyprus, and examine the relationship between poetry defined as high culture and articulations of national identity in the two places. Scotland and Cyprus share characteristics that make the establishment of a single, coherent national identity with the appearance of permanence challenging, including their relationships with culturally dominant neighbours, competition between local and official languages, and the insecurity of their status as nations. Both Scotland and Cyprus have historically had hybrid identities; in Scotland, British identity is made problematic by England's cultural dominance, while in Cyprus Greek-speakers have a conflicted relationship with Greece. This is made more complex by the fact that Scotland's political union with England may be ending, while Cyprus is divided in half as a result of tensions between Christian and Muslim populations and the unsubtle past involvement of Greece and Turkey in the island's affairs. This thesis aims to locate trends of national identity through the analysis of poetry and its reception in three distinct contexts. Part 1 analyses the evolution of Scottish and Greek-speaking Cypriot 'national character' through the poetry of national poets Robert Burns and Vasilis Michailidis, and the poets Walter Scott and Dimitris Lipertis. Part 2 explores the effects of modernity on the expression of national identities in literature through the lens of the Modernist movement, and how this was adopted and modified in Scotland and Cyprus. This is discussed with reference to three poets, Hugh MacDiarmid, Kostas Montis and Edwin Morgan, and their treatment of the national past and search for a national literary language. Finally, Part 3 analyses deliberate engagements of poets with national identity and issues of national importance, using Seamus Heaney's idea of 'adequate' poetry as a guide. Two functions of poetry are considered: the role it can play in transforming the landscape into the national homeland, and its potential to address communal trauma, and transform it into a unifying experience.

This thesis investigates into possibilities of a design of a workplace for device endurance experiments against strong high-frequency electromagnetic field. It deals with testing methods, describes advantages and disadvantages of such methods. It investigates possibiities of testing devices, possible magnitudes of fieldstrenght. One can find in the thesis a review of a way of testing using a high-intensity electromagnetic field. A concept of a construction of a stripline including a practical example is a part of the thesis.

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