Thesis (Ph. D.)--University of Pennsylvania, 1940. / Lithoprinted. "Bibliography of authorities cited": p. 91-110.

Thesis (Ph. D.)--University of California, Santa Cruz, 1993. / Typescript. Includes bibliographical references (leaves 275-284).

It is the thesis of this study, that although Ayres’s theory of progress is damaging to his sociological theory as a whole, his theory of the basic dichotomy of social action, that of technology and ceremonialism, deserves greater credit than it has received and is profoundly significant sociologically.

No description available.

The purpose of this analysis is to explain the instrumental theories of Dewey and Ayres; their analysis of societal problems and the proposed solutions; and finally their perception of the future direction of society. Dewey and Ayres both utilized the instrumental theory of value to analyze problems and propose solutions. According to this theory, something has value if it enhances or furthers the life process of mankind. Therefore, this should become the criterion to be utilized in determining the future courses of action. They both agree that policy decisions should be made with at least one goal in mind: progress.

L'objet de ce travail est d'étudier le système de représentation qu'avaient les Égyptiens du cerveau, à travers une recherchelexicographique, incluant textes médicaux et textes funéraires. La connaissance que nous avons de la conception du cerveau, en Égypte ancienne, est notre propre représentation de la leur. Une approche des connaissances médicales, grâce à l'étude des textes médicaux, notamment, le papyrus Edwin Smith, sera confrontée à celle des momies, dont lapathologie cérébrale ou spinale a pu faire l'objet d'un diagnostic rétrospectif. L'étude des textes funéraires, en particulier, le Rituel de l'Embaumement, donnera de nouveaux éléments, permettant la recherche de la signification rituelle du traitement de l'endocrâne, incluant ou non une excérébration, comparée à l'utilité de cette pratique pour la conservation de la momie. Une étude de momies, centrée sur le traitement du crâne, rassemblant « éléments durs » et « éléments mous », complètera les données fournies par les textes égyptiens, à travers une approche de l'évolution des pratiques funéraires. / The object of this work is the study of the system of representation that had the Egyptians about the brain, through a lexicographical research, with medical and funerary texts included. The knowledge that we have from the conception of the brain, in Ancient Egypt, is our own representation of their. An access to medical texts, more particularly, the papyrus EdwinSmith, will be compared with mummies’ study, the cerebral or spinal diseases of whom could be the subject of etrospective diagnosis. The study of funerary texts, particularly, the Embalming Ritual, will give new elements, which allowed the research of ritual signification of skull’s treatment, including or not an excerebration, compared to the usefulness of thispractice for the conservation of the mummy. A study of mummies, focused on skull’s treatment, reassembling « hard elements » and « soft elements », will complete the ideas given by Egyptian texts, through an approach of the evolution of funerary texts.

O presente estudo delineou-se dentro de uma abordagem qualitativa, caracterizando-se como estudo de caso participante. O tema nasceu da observação da carência de formação musical entre os profissionais que trabalham nos berçários, creches e Centros de Educação infantil. Teve por objetivo compreender os aspectos envolvidos no processo de formação musical do professor generalista que trabalha com bebês e crianças pequenas, a partir de um curso básico de música, elaborado dentro dos pressupostos da Teoria da Aprendizagem Musical de Edwin Gordon, por entender que esta teoria apresenta informações e traz orientações claras quanto o desenvolvimento musical da criança, facilitando a organização de possíveis propostas metodológicas. Logo após o curso, durante um ano letivo, realizou-se o acompanhamento reflexivo e suporte pedagógico musical junto a uma das professoras participantes do curso inicial. O referencial teórico debruçou-se sobre estudos oriundos da Sociologia da Infância quanto à concepção de infância, dentre os autores estão Corsaro (s/d) e Qvortrup (2010; 2011) no sentido de conceituar a criança adotada nessa pesquisa; sobre estudos que tratam da formação do professor generalista, como os de Kishimoto (2005; 2008), Gatti e Barreto (2009), dentre outros, e formação de professores de arte no Brasil, como Fonterrada (2008), Barbosa (1989; 2002a; 2002b; 2003); sobre estudos relacionados às origens da música e sua importância, dentre outros, para as relações sociais do Homem, como os de Brown et al (2000); Levitin (2006); Sandra Trehub (2002; 2003); sobre os estudos das interações iniciais dos bebês a partir das concepções de Colwin Trevarthen (1996;1999; 2000) e Daniel Stern (1992) e da descrição minuciosa da Music Learning Theory de Edwin Gordon. Encontram-se nas análises dos dados as contribuições deste modelo de ação para a formação musical inicial dos professores, que neste caso eram alunos de um curso de pedagogia que já atuavam na educação Infantil, e seus reflexos no contexto da creche. Os resultados mostraram-se efetivos quanto à abordagem teórica musical adotada. Houve um crescimento musical significativo durante o processo estabelecido no curso, dada à inexperiência musical das participantes. Posteriormente, no acompanhamento da prática da professora, observou-se um reflexo expressivo no desenvolvimento musical dos bebês através de inúmeras respostas musicais, de movimento corporal, além de ricas interações entre a professora e os bebês, bem como entre os bebês e seus pares, corroborando com a literatura estudada. / This study outlined in a qualitative approach, characterized as participant case study. The issue arose from the observation of the lack of musical education among professionals who work in nurseries, kindergartens and Child Education Centers. Aimed to understand the issues involved in the musical formation process of class teachers working with babies and toddlers, from a basic course in music, elaborated within the assumptions of the theory of Musical Learning Edwin Gordon, understanding that this theory displays information and provides clear guidance on the musical development of the child, facilitating the organization of possible methodological proposals. Soon after the course, during a school year, there was reflective accompaniment and musical pedagogical support by one of the participating teachers of the initial course. The theoretical bent over coming studies of Sociology of Childhood on the design of childhood, among the authors are Corsaro (s/d) and Qvortrup (2010; 2011) to conceptualize the child adopted in this research; on studies dealing with the training of class teachers, like those of Kishimoto (2005; 2008), Gatti and Barreto (2009), among others, and training of art teachers in Brazil, as Fonterrada (2008), Barbosa (1989; 2002a; 2002b; 2003); on studies related to the origins of music and its importance, among others, for social relations of man, such as Brown et al (2000); Levitin (2006); Sandra Trehub (2002; 2003); On the studies of early interactions babies from the conceptions of Colwin Trevarthen (1996; 1999; 2000) and Daniel Stern (1992); and detailed description of Music Learning Theory of Edwin Gordon. Are the analysis of the data contributions from this model of action for the initial musical training of teachers, which in this case were students of a pedagogy course already working in Early Childhood Education, and its effects in the context of the nursery. The results were effective as the musical theoretical approach adopted. There was a significant musical growth during the process established in the course given to musical inexperience of the participants. Subsequently, in monitoring the practice of teacher, there was a significant reflection in the musical development of babies through numerous musical responses, body movement, and rich interactions between the teacher and the babies and between babies and their peers, corroborating the literature studied.

O presente estudo delineou-se dentro de uma abordagem qualitativa, caracterizando-se como estudo de caso participante. O tema nasceu da observação da carência de formação musical entre os profissionais que trabalham nos berçários, creches e Centros de Educação infantil. Teve por objetivo compreender os aspectos envolvidos no processo de formação musical do professor generalista que trabalha com bebês e crianças pequenas, a partir de um curso básico de música, elaborado dentro dos pressupostos da Teoria da Aprendizagem Musical de Edwin Gordon, por entender que esta teoria apresenta informações e traz orientações claras quanto o desenvolvimento musical da criança, facilitando a organização de possíveis propostas metodológicas. Logo após o curso, durante um ano letivo, realizou-se o acompanhamento reflexivo e suporte pedagógico musical junto a uma das professoras participantes do curso inicial. O referencial teórico debruçou-se sobre estudos oriundos da Sociologia da Infância quanto à concepção de infância, dentre os autores estão Corsaro (s/d) e Qvortrup (2010; 2011) no sentido de conceituar a criança adotada nessa pesquisa; sobre estudos que tratam da formação do professor generalista, como os de Kishimoto (2005; 2008), Gatti e Barreto (2009), dentre outros, e formação de professores de arte no Brasil, como Fonterrada (2008), Barbosa (1989; 2002a; 2002b; 2003); sobre estudos relacionados às origens da música e sua importância, dentre outros, para as relações sociais do Homem, como os de Brown et al (2000); Levitin (2006); Sandra Trehub (2002; 2003); sobre os estudos das interações iniciais dos bebês a partir das concepções de Colwin Trevarthen (1996;1999; 2000) e Daniel Stern (1992) e da descrição minuciosa da Music Learning Theory de Edwin Gordon. Encontram-se nas análises dos dados as contribuições deste modelo de ação para a formação musical inicial dos professores, que neste caso eram alunos de um curso de pedagogia que já atuavam na educação Infantil, e seus reflexos no contexto da creche. Os resultados mostraram-se efetivos quanto à abordagem teórica musical adotada. Houve um crescimento musical significativo durante o processo estabelecido no curso, dada à inexperiência musical das participantes. Posteriormente, no acompanhamento da prática da professora, observou-se um reflexo expressivo no desenvolvimento musical dos bebês através de inúmeras respostas musicais, de movimento corporal, além de ricas interações entre a professora e os bebês, bem como entre os bebês e seus pares, corroborando com a literatura estudada. / This study outlined in a qualitative approach, characterized as participant case study. The issue arose from the observation of the lack of musical education among professionals who work in nurseries, kindergartens and Child Education Centers. Aimed to understand the issues involved in the musical formation process of class teachers working with babies and toddlers, from a basic course in music, elaborated within the assumptions of the theory of Musical Learning Edwin Gordon, understanding that this theory displays information and provides clear guidance on the musical development of the child, facilitating the organization of possible methodological proposals. Soon after the course, during a school year, there was reflective accompaniment and musical pedagogical support by one of the participating teachers of the initial course. The theoretical bent over coming studies of Sociology of Childhood on the design of childhood, among the authors are Corsaro (s/d) and Qvortrup (2010; 2011) to conceptualize the child adopted in this research; on studies dealing with the training of class teachers, like those of Kishimoto (2005; 2008), Gatti and Barreto (2009), among others, and training of art teachers in Brazil, as Fonterrada (2008), Barbosa (1989; 2002a; 2002b; 2003); on studies related to the origins of music and its importance, among others, for social relations of man, such as Brown et al (2000); Levitin (2006); Sandra Trehub (2002; 2003); On the studies of early interactions babies from the conceptions of Colwin Trevarthen (1996; 1999; 2000) and Daniel Stern (1992); and detailed description of Music Learning Theory of Edwin Gordon. Are the analysis of the data contributions from this model of action for the initial musical training of teachers, which in this case were students of a pedagogy course already working in Early Childhood Education, and its effects in the context of the nursery. The results were effective as the musical theoretical approach adopted. There was a significant musical growth during the process established in the course given to musical inexperience of the participants. Subsequently, in monitoring the practice of teacher, there was a significant reflection in the musical development of babies through numerous musical responses, body movement, and rich interactions between the teacher and the babies and between babies and their peers, corroborating the literature studied.

Edwin Fissinger (1920-1990) was a conductor and prolific choral composer. His compositional techniques, settings of text, jazz-influenced harmonies, and melodic propulsion fulfill an important role in each of his compositions. In the eight choral cycles he composed, Fissinger unified each cycle through thematic and textual elements. Although this resulted in a logical progression of poetry and music, Fissinger's final choral cycle, Prairie Scenes, was not published as he intended. Rather, individual selections from the cycle were published by two different publishing houses, out of sequence, and sixteen years apart. Consequently, the eight pieces are not currently performed together. Today's choral conductors, singers, and audience do not fully appreciate the value of this choral cycle and cannot understand its intended context. It is necessary to provide an in-depth investigation of the original eight-piece work Prairie Scenes: A Choral Cycle to place the appropriate organizational set together. This study illustrates the importance of the unification of Fissinger's Prairie Scenes: A Choral Cycle through a study of the poetry, the thematic material as it relates to the natural elements of the prairies, the manuscripts, and interviews with Fissinger's publishers and colleagues. An examination of Fissinger's compositional technique to convey the meaning of the text reveals a clear link between Prairie Scenes and the North Dakota prairies and its seasons. A description of the development of the choral cycle throughout music history and a biography of Edwin Fissinger and his compositional style are also included.

This thesis examines concrete poetry in England and Scotland from 1962 to 1975. Through the 1950s-70s, international concrete poetry evolved away from constructivist influenced, “classical” ideals of minimalism and iconic visual effect towards principles owing more to Dadaism and Futurism: spontaneity, maximalism, sonority and an emphasis on intermedial expression. Against this backdrop, using close textual analysis supported by primary research, I engage with four poets whose work collectively exemplifies the wide range of values which concrete poetry represented in England and Scotland during the period in question. A movement away from classical ideals can be tracked across the oeuvres of Finlay, Morgan, Houédard and Cobbing; but many aspects of their work cannot be accounted for by this general rubric. Finlay saw concrete poetry as a means of casting off Scottish literary tradition, but also of embodying an immutable vision of aesthetic and ethical order, using a marriage of the visual and linguistic to emphasise links between disparate ideas and things. However, his restless reconfiguration of poetry’s visual-physical aspects ultimately resulted in a re-separation of word and image which, together with an increasing historical-mindedness, ended his attachment to the style. Morgan, by contrast, used concrete poetry to redefine rather than repel Scottish literary culture, and was a more context-focused poet, using concrete grammar – whose sonic possibilities he exploited more than Finlay – to depict specific communicative scenarios, and thus to register ethical and political imperatives, often reflecting Scottish nationalist ideals. The emphasis on semantics common to Morgan and Finlay’s work, reflecting relative fidelity to classical principles, is overridden in Houédard’s concrete poetry, which came to employ a grammar of abstract visual motifs in which linguistic meaning was subsumed, related as much to apophatic theology as to classical concrete. For Cobbing too, concrete became a means of evading language, in his case to access a transcendent realm of “intermedial” poetry equally related to language’s sonic and visual dimensions, and influenced by various contemporary artforms, and by counter-cultural ideals. However, Cobbing’s emphasis on performing poems, and the reintegration of semantics into his work throughout this period, led by the early 1970s to an alternative poetic ideal of relativity.