The Birth is a multi-media video installation inspired by my personal experiences of a miscarriage and the births of my two children. The work is influenced by the mythologies found in Korean culture that focus on the mother figure as a ¡°Great Mother¡±. She is an ¡°ideal woman¡±, a ¡°good mother¡± and a ¡°sincere wife¡±. Working abstractly across the media of painting, video, digital animation, and the paintings of my son, The Birth exploits metaphors and symbols, to tell the story of women, especially the stories of mothers. The work speaks to motherly love and my own identity as an artist and a mother.

過去紡織產業為台灣的主力產業，由於本國廠商掌握純熟的製造技術與低廉的勞力成本，促使產品達到高品質、低成本之優勢。然而，產業環境逐漸全球化，導致台灣廠商面臨中國大陸及東南亞地區勞力成本低之威脅，而喪失成本優勢，因而促使些許廠商採取海外設立製造據點策略，以因應客戶低成本的需求。但此海外擴張策略需要組織投入大量資金於建置廠房，除了提高組織之營運風險外，此策略並無法有效維持及強化自身與客戶的長遠關係，此外，台灣紡織廠商應運用研發技術之優勢，提供差異化產品以創造更高利潤。而當紡織廠商欲達到此目標且藉此拓展海外潛在客戶合作關係時，唯有利用海外業務據點之成立，才能降低營運風險，且貼近客戶端以了解需求，並提升雙方合作關係之緊密度。 本研究將採取質化個案研究方法，深度訪談台灣紡織產業內的標竿企業─A公司，且輔以蒐集隸屬於同集團下─B公司之次級資料，並加以運用Dunning(1980)之折衷理論，探討個案公司如何運用自擁優勢、區位優勢及內部化優勢，及組織與內外部重要利害關係人之網絡關係，以提高組織設立海外業務據點之成功機會，此外，本研究也蒐集大量之次級資料，分析組織分別設立海外業務據點及製造據點所需具備OLI理論各層面優勢之差異性。 研究結論顯示，於OLI架構下，文化距離差異度愈低之自擁優勢、廠商專屬程度愈高之資產；產業聚合密度較高與人力專屬性較高之區位優勢；母公司掌控程度越高之內部化優勢皆正向影響組織設立海外業務據點；而於內外部網絡關係層面，廠商與相關企業間業務人員銷售能力共用程度高之網絡關係、廠商間相互依存度高之外部網絡關係及地主國政府所提供的資源豐富性越高之外部網絡關係，皆能對於廠商設立海外業務據點形成助益。 / In the past, the textile industry was prosperous in Taiwan because of professional techniques and low labor costs. However, these advantages disappear gradually because of the economic growth of developing countries such as China and Vietnam. Therefore, the managers in textile enterprises in Taiwan have to develop some strategies to overcome the challenges. Most of these companies strengthen their R&D skills to make differentiated products and then gain more profits. At the same time, they will reduce the operational risk and build the strong customer relationships by establishing the overseas sale and marketing sites. The study uses qualitative research method to interview the vice president and the assistant manager in the case company. Furthermore, the research applies the “Eclectic Paradigm”, which was published by Dunning in 1980, to discuss how the case company used the ownership advantages, location advantages, internalization advantages and the network relationships to increase the possibility of expanding the business overseas by establishing the sites. Moreover, the research also compares the differences between the production sites and sales and marketing sites. To sum up, there are some findings in the research. When the ownership advantages with low cultural difference and high specific assets, the location advantages with high cluster density of the industry and high specific labor assets, the internalization advantages with high control by the headquarter will encourage the company to set the sales and marketing sites overseas. On the other hand, the internal social networks about the sale resources between the organization and affiliated companies, the external social networks with high dependency from the customers and the supporting from the host government will encourage the company to implement the global expansion strategy.

O presente trabalho sobre a Sonata para piano opus 55 nº 3 de Alberto Ginastera foi realizado tomando como referencial a análise desenvolvida por Lawrence Ferrara no Capítulo seis “An eclectic method for sound, form and representation” do seu livro “Philisophy and the Analisis of Music”. Dentro deste tipo de análise, apresentam-se diferentes enfoques analíticos: convencionais (que descrevem a forma musical ou sintaxe); fenomenológicos (descrições do som no tempo); e hermenêuticos (que descrevem os significados referenciais). Cada um destes enfoques é desenvolvido para finalmente favorecer uma visão holística, que permita estabelecer uma rede de relações estruturais, funcionais, significativas entre cada um dos elementos que o analista-intérprete determinou para abordar a interpretação musical da sonata. / The present work on Sonata nº 3 opus 55 for piano of Alberto Ginastera was carried through taking as referential the analysis developed by Lawrence Ferrara in the Chapter six “An eclectic method for sound, form and representation” of his book “Philosophy and the Analysis of Music”. Inside this type of analysis, different methods of analytical approaches are presented: conventional (describes the musical form or syntax); phenomenological (descriptions of the sound in the time); and hermeneutics (describes the referential meanings). Each one of these approaches is developed to finally favor a holistic vision, that allows to establish a net of relations structural, functional, significant between each one of the elements that the analyst-interpreter determined to approach the interpretation musical of the sonata. / El presente trabajo sobre la Sonata para piano opus 55 n°3 de Alberto Ginastera esta realizado tomando como referencial el análisis desarrollado por Lawrence Ferrara en el Capítulo seis “An eclectic method for sound, form and representation” de su libro “Philisophy and the Análisis of Music”. Dentro de ese análisis se presentan diferentes enfoques analíticos: convencionales (que describen la forma musical o sintaxis); fenomenológicos (descripciones del sonido en el tiempo); y hermenéuticos (que describen los significados referenciales). Cada uno de esos enfoques es desarrollado para finalmente favorecer una visión holística, que permita establecer una red de relaciones estructurales, funcionales, significativas entre cada uno de los elementos que el analista- intérprete determinó para abordar la interpretación musical de la sonata.

Submitted by Paulo Junior (paulo.jr@fgv.br) on 2010-05-05T18:39:38Z No. of bitstreams: 1 Carlos Felipe de Souza Gouveia.pdf: 806002 bytes, checksum: a4ae1938a30d975dba9240f182604742 (MD5) / Approved for entry into archive by Paulo Junior(paulo.jr@fgv.br) on 2010-05-05T18:41:01Z (GMT) No. of bitstreams: 1 Carlos Felipe de Souza Gouveia.pdf: 806002 bytes, checksum: a4ae1938a30d975dba9240f182604742 (MD5) / Made available in DSpace on 2010-05-06T10:52:06Z (GMT). No. of bitstreams: 1 Carlos Felipe de Souza Gouveia.pdf: 806002 bytes, checksum: a4ae1938a30d975dba9240f182604742 (MD5) Previous issue date: 2010-03-23 / O objetivo desta dissertação é analisar algumas das principais teorias de internacionalização de empresas, comparando-as com a prática observada em duas empresas multinacionais brasileiras de grande porte. A busca por conhecimentos mais profundos sobre a expansão internacional das atividades empresariais tornouse muito importante a partir do final do século XX, considerando-se o crescente volume de fusões, aquisições, parcerias e joint-ventures realizadas entre empresas de diferentes países e estudadas por pesquisadores internacionais. Esses últimos começaram a desenvolver teorias em uma tentativa de explicar o comportamento internacionalizante de tais empresas. Ao longo dos anos, estas teorias se sofisticaram e começaram a dividir-se de acordo com condições pré-estabelecidas, como o volume de vendas, o grau de experiência no exterior, a presença de mercados culturalmente próximos e a localização geográfica. Uma vez que a maioria histórica das empresas internacionalmente expressivas é composta por corporações norte-americanas, européias e asiáticas, observou-se apenas um pequeno volume de estudos voltados à empresas oriundas de países emergentes. Assim, esta dissertação se baseia em exemplos brasileiros, representados pelas empresas Odebrecht e Petrobras, como forma de avaliar a aplicabilidade destas teorias frente a realidade de um expressivo mercado emergente.

This research is premised on Armstrong's (1990:7) argument that „every interpretive approach reveals something only by disguising something else, which a competing method with a different assumption might disclose.‟ This statement indicates that preference or marginalisation of some literary theories impedes progress in African-language literary criticism because different literary theories tend to focus on one or a few selected aspects of a work art. This flows from the assumption that no literary theory can unearth all aspects and meanings of a literary text. This research comes against rigidity, conservatism and narrow-mindedness of those literary critics and scholars who refuse to open up and embrace literary theories which they are opposed to. The research is an attempt to demonstrate the benefit of flexibility and ability to accommodate even those opposing literary views that can make positive contribution in the field of African-language literary criticism. The research further calls for pragmatism, tolerance and co-existence of opposing literary views for the benefit of progress in the field of African-language literary criticism. This research is an acknowledgement of the fact that no literary theory is infallible because all literary theories have their own strong and weak points. In this research, a survey of literary approaches commonly applied in African-language criticism is conducted. This is followed by an analysis of a Tshivenḓa novel (i.e. A si ene) from different literary angles to prove that every literary theory can help to unmask a particular meaning of a literary text which no any other literary theory can do. For example, the intrinsic literary approaches will, most certainly, unlock the meaning of a literary text differently from the way the extrinsic literary theories do because diverse literary approaches focus on different aspects or elements of a work of art. This research is an endorsement of the argument that through multiple-reading of a literary text, readers‟ understanding of the same literary text is broadened and deepened. / African Languages / D. Litt. et Phil (African Languages)

O presente trabalho sobre a Sonata para piano opus 55 nº 3 de Alberto Ginastera foi realizado tomando como referencial a análise desenvolvida por Lawrence Ferrara no Capítulo seis “An eclectic method for sound, form and representation” do seu livro “Philisophy and the Analisis of Music”. Dentro deste tipo de análise, apresentam-se diferentes enfoques analíticos: convencionais (que descrevem a forma musical ou sintaxe); fenomenológicos (descrições do som no tempo); e hermenêuticos (que descrevem os significados referenciais). Cada um destes enfoques é desenvolvido para finalmente favorecer uma visão holística, que permita estabelecer uma rede de relações estruturais, funcionais, significativas entre cada um dos elementos que o analista-intérprete determinou para abordar a interpretação musical da sonata. / The present work on Sonata nº 3 opus 55 for piano of Alberto Ginastera was carried through taking as referential the analysis developed by Lawrence Ferrara in the Chapter six “An eclectic method for sound, form and representation” of his book “Philosophy and the Analysis of Music”. Inside this type of analysis, different methods of analytical approaches are presented: conventional (describes the musical form or syntax); phenomenological (descriptions of the sound in the time); and hermeneutics (describes the referential meanings). Each one of these approaches is developed to finally favor a holistic vision, that allows to establish a net of relations structural, functional, significant between each one of the elements that the analyst-interpreter determined to approach the interpretation musical of the sonata. / El presente trabajo sobre la Sonata para piano opus 55 n°3 de Alberto Ginastera esta realizado tomando como referencial el análisis desarrollado por Lawrence Ferrara en el Capítulo seis “An eclectic method for sound, form and representation” de su libro “Philisophy and the Análisis of Music”. Dentro de ese análisis se presentan diferentes enfoques analíticos: convencionales (que describen la forma musical o sintaxis); fenomenológicos (descripciones del sonido en el tiempo); y hermenéuticos (que describen los significados referenciales). Cada uno de esos enfoques es desarrollado para finalmente favorecer una visión holística, que permita establecer una red de relaciones estructurales, funcionales, significativas entre cada uno de los elementos que el analista- intérprete determinó para abordar la interpretación musical de la sonata.

O presente trabalho sobre a Sonata para piano opus 55 nº 3 de Alberto Ginastera foi realizado tomando como referencial a análise desenvolvida por Lawrence Ferrara no Capítulo seis “An eclectic method for sound, form and representation” do seu livro “Philisophy and the Analisis of Music”. Dentro deste tipo de análise, apresentam-se diferentes enfoques analíticos: convencionais (que descrevem a forma musical ou sintaxe); fenomenológicos (descrições do som no tempo); e hermenêuticos (que descrevem os significados referenciais). Cada um destes enfoques é desenvolvido para finalmente favorecer uma visão holística, que permita estabelecer uma rede de relações estruturais, funcionais, significativas entre cada um dos elementos que o analista-intérprete determinou para abordar a interpretação musical da sonata. / The present work on Sonata nº 3 opus 55 for piano of Alberto Ginastera was carried through taking as referential the analysis developed by Lawrence Ferrara in the Chapter six “An eclectic method for sound, form and representation” of his book “Philosophy and the Analysis of Music”. Inside this type of analysis, different methods of analytical approaches are presented: conventional (describes the musical form or syntax); phenomenological (descriptions of the sound in the time); and hermeneutics (describes the referential meanings). Each one of these approaches is developed to finally favor a holistic vision, that allows to establish a net of relations structural, functional, significant between each one of the elements that the analyst-interpreter determined to approach the interpretation musical of the sonata. / El presente trabajo sobre la Sonata para piano opus 55 n°3 de Alberto Ginastera esta realizado tomando como referencial el análisis desarrollado por Lawrence Ferrara en el Capítulo seis “An eclectic method for sound, form and representation” de su libro “Philisophy and the Análisis of Music”. Dentro de ese análisis se presentan diferentes enfoques analíticos: convencionales (que describen la forma musical o sintaxis); fenomenológicos (descripciones del sonido en el tiempo); y hermenéuticos (que describen los significados referenciales). Cada uno de esos enfoques es desarrollado para finalmente favorecer una visión holística, que permita establecer una red de relaciones estructurales, funcionales, significativas entre cada uno de los elementos que el analista- intérprete determinó para abordar la interpretación musical de la sonata.

O objeto principal desta tese se constitui a partir da apresentação e da análise dos projetos residenciais elaborados pelo arquiteto Eduardo Kneese de Mello (1906-1994) ao longo de sua carreira na cidade de São Paulo. Para compreender as principais características de suas obras, julgou-se necessário investigar sua formação com base nos dois principais cursos de Arquitetura oferecidos nesta cidade - Escola Politécnica da Universidade de São Paulo e Escola de Engenharia do Mackenzie College - durante as primeiras décadas do século XX. Busca-se, dessa maneira, a possibilidade de comprovar uma das premissas desta pesquisa, na qual se crê que a primeira etapa da trajetória profissional de Kneese de Mello está relacionada aos aprendizados advindos de sua formação universitária. O desenvolvimento do trabalho, como se verá, revelou que muitos destes conhecimentos e modos de conceber permaneceram em sua obra mesmo depois de sua propalada conversão aos preceitos do Movimento Moderno. Apresentamos e analisamos, portanto, uma série de residências projetadas pelo arquiteto. A maior parte da produção analisada (39 projetos dos 45 selecionados para o estudo de casos) está vinculada ao Ecletismo tardio dos anos de 1930 e 1940, quando as famílias paulistanas de maior poder aquisitivo apreciavam a reprodução de padrões estilísticos, por compreendê-los como sinônimos de progresso e status social e por expressarem uma identificação social com os hábitos das metrópoles europeias e, posteriormente, com os padrões e modos de morar estadunidenses. Os outros seis projetos representam a segunda etapa de sua trajetória profissional e se relacionam diretamente aos princípios da Arquitetura Moderna. Por fim, procura-se, pelo percurso realizado no estudo das obras do arquiteto, compreender como ocorreu o período de transição apontando algumas das convergências e analogias, semelhanças e discrepâncias, inovações e continuidades nas formas do arquiteto conceber a arquitetura. / The major purpose of this thesis has originated from the presentation and assessment of the residential designs of Architect Eduardo Kneese de Mello (1906-1994) along his career in the city of São Paulo. In order to understand the main features of his work, we deemed necessary to explore his academic background based on the two major Architecture courses existing in this city - Polytechnic School of the University of Sao Paulo - (Escola Politécnica da Universidade de São Paulo) and School of Engineering of Mackenzie University (Escola de Engenharia da Universidade Mackenzie) - during the two first decades of the 20th century. We did this trying to reach the possibility to evidence one of the premises of this survey, that is based on the fact that the first stage of the professional path of Kneese de Mello is related to the learning obtained from his university studies. The development of the work, as may be seen, has revealed that many of such knowledge and means of creating have remained in his work even after his well-known conversion to the precepts of the Modern Movement. We do then present and assess a series of residences designed by the Architect. Most of the production assessed (39 designs out of the 45 selected for the case studies) is linked to the late Eclecticism of the 1930s and 1940s, when wealthier families from Sao Paulo liked the reproduction of stylistic standards, seeing them as a synonym of progress and social status and for the fact that they express a social identification with the lifestyle of European metropolis and further, with American standards and way of life. The other six designs represent a second stage of his professional path and are related directly to the foundations of the Modern Architecture. Ultimately, we search for the path taken in the survey of the work of the Architect, to understand how the transition period took place, pointing out some convergence and analogies, similarities and discrepancies, innovation and continuity in the ways the Architect conceived Architecture.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-03-27T12:10:05Z No. of bitstreams: 1 anacarolinagamaranomoreira.pdf: 14020774 bytes, checksum: 74a9c57b717b2d4e8a3a407df3240bf9 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-09T19:19:50Z (GMT) No. of bitstreams: 1 anacarolinagamaranomoreira.pdf: 14020774 bytes, checksum: 74a9c57b717b2d4e8a3a407df3240bf9 (MD5) / Made available in DSpace on 2018-04-09T19:19:50Z (GMT). No. of bitstreams: 1 anacarolinagamaranomoreira.pdf: 14020774 bytes, checksum: 74a9c57b717b2d4e8a3a407df3240bf9 (MD5) Previous issue date: 2017-09-28 / O Castelinho dos Bracher apresenta uma grande importância histórica e cultural para Juiz de Fora. A edificação foi projetada no início do século XX pelo arquiteto Raphael Arcuri - filho mais velho do imigrante italiano Pantaleone Arcuri - para ser a residência de sua família, ficando conhecida como: Castelinho do Pantaleone. O Castelinho pertenceu a diferentes famílias até ser adquirido, no ano de 1951, pelos Bracher. Essa família exerceu um importante papel no ambiente cultural e artístico da cidade; sua mudança para o Castelinho atribuiu a ele um novo significado, uma nova denominação, nome que permanece no imaginário da população. Com os Bracher, a importante edificação eclética passou a ser, além de tudo, um lugar aberto, democrático, acessível e de intensa produção de arte e cultura. O presente trabalho apresenta a importância do Castelinho, desde sua construção até os dias atuais, mostrando as modificações que a edificação sofreu para poder atender às necessidades dos diversos moradores. Além disso, evidencia a relevância da família Bracher retratada nos espaços da casa e analisa-se o Castelinho dos Bracher inserido no contexto urbano, observando suas singularidades que lhe conferem identidade e que auxiliaram na construção das memórias dos juiz-foranos. / The "Castelinho dos Bracher" has a great cultural and historical importance to the city of Juiz de Fora. At the beginning of the 20th century, the building was design by the architect Raphael Arcuri - the oldest son of the Italian immigrant Pantaleone Arcuri. It was projected to be the residence of his family, becoming known as "Castelinho dos Pantaleone". The structure belonged to different families until its acquirement, in 1951, by the Brachers. This family held an important role in the cultural and artistic environment of the city; your moving to "Castelinho" assigned it a new meaning, a new title, name that remains on the population’s mind. With the Brachers the important eclectic building became, above all, an open, democratic and accessible place, with an intense production of art and culture. This work aims to present the importance of the "Castelinho", from its construction until nowadays, showing the modifications the building suffered in order to meet the needs of individual residents. Furthermore, it emphasizes the relevance of Bracher family depicted in the house’s spaces and analysis the edifice placed in the urban context, noting its uniqueness that confers identity and helped constructing the memories of the population of Juiz de Fora.

Through education, a society hopes to reproduce itself, and through architecture a society reveals it’s values, aspirations, norms, beliefs and its cultural composition in the built environment. The first democratic elections in 1994 marked the end of the apartheid era and the beginning of the definition of a new era that would represent the new aspirations of all the people of South Africa. These fairly recent changes are important for the reshaping of the architectural profession as it seeks to interpret new meanings, views and aspirations of the new South African society in the built environment. A starting point in the transformation of the architecture profession is the development of a curriculum model in schools of architecture that will ensure continuous adaptation to the changes in society. The study reviewed and categorized the contemporary curriculum models as used in the South African schools of Architecture according to an array of philosophies and principles that underlie curricula. The Thesis proposes that an eclectic approach to design of architecture curricula is ideal for the multicultural society of South Africa that seeks to balance the demands of the local and global context in its education. This study revealed that most architecture programmes retain their traditional programmes because the university is the largely the locus of learning, experiential learning is minimal as well as little flexibility as most of the learning course- modules are required modules. The Thesis proposes a curriculum model for architecture based on the Post-Modern philosophy, which can effectively accommodate the needs of a changing South Africa in the educational programmes for architects. Such a model defines with clarity the pedagogic or epistemological reasons for directing change in architecture programmes in an increasingly complex and dynamic South African society. / Thesis (PhD (Architecture))--University of Pretoria, 2006. / Architecture / unrestricted