Thesis--Northwestern University. / Photocopy (positive) of typescript, made by University Microfilms. Collation of the original: 340 L. Vita. Issued also in microfilm form. Includes bibliographical references.

Thesis (M.A.)--University of North Carolina at Wilmington, 2006. / Includes bibliographical references (leaves: [40]-41)

Marburg, Universiẗat, Diss., 2002. / Erscheinungsjahr an der Haupttitelstelle: 2001.

Techn. Universiẗat, Diss., 2002--Berlin.

Thesis (M.A.)--University of Saskatchewan, 2005. / Mode of access: World Wide Web. Includes bibliographical references.

M.Comm. / The organisation has shown tremendous growth over the past few years. Management processes however, have not grown and developed in line with organisational growth, resulting in performance not being managed effectively. This is especially evident in the more technical areas of the business where systematic processes are used to a great extent. In these areas, the lack of standards and defined outputs have contributed to business goals not always being achieved. It was further difficult, and sometimes impossible for staff to be transferred between different divisions of the business due to the total lack of a job grading system with remuneration parameters linked to this. On top of this, a general dissatisfaction was evident amongst personnel, which made it very difficult for management to maintain a motivated workforce. Keeping the above in mind, it became necessary to establish exactly what caused personnel to be dissatisfied, in order for the organisation to eliminate these factors and work towards promoting factors which would motivate personnel. It would not be sufficient though to merely address the abovementioned problems. Different motivational theories were researched to assist in identifying the cause of the dissatisfaction. Most of the theories mainly consider motivation from a personal perspective, while Herzberg also considers the job and the place of work. This in my mind, creates a context within which an organisation's motivational problems can accurately and successfully be researched. For this reason, Herzberg's theory was found to be the more appropriate one for purposes of this study.

Thomas Carlyle’s History of Friedrich II. of Prussia, called Frederick the Great was published in six volumes between 1858 and 1865 and was his last major work. Carlyle had a specific purpose in mind when he began writing Frederick. He believed that contemporary events had left Europe in disarray and the British nation fragmented. In his view, the nation needed to function as a family unit, with the older, more experienced members of the group instructing and educating the young. Carlyle’s attempt to address the situation with the publication of his Latter-Day Pamphlets in 1850 had failed, largely due to their aggressive tone. He adopted an entirely different approach when it came to writing Frederick. Chapter one explores Carlyle’s vacillation over his choice of Frederick as a suitable subject for his history and investigates his soul-searching over whether or not to proceed with the project. It examines the three-way relationship which Carlyle created between himself, Frederick and the reader and explores the various language techniques that Carlyle used to create and maintain this relationship. In chapter two, Carlyle’s style of writing in Frederick is investigated. It argues that Carlyle was engaged in the act of storytelling and explores the various literary techniques that he used to achieve this. Chapter three consists of an in-depth examination of Carlyle’s use of oral techniques in Frederick, investigating the variety of oral devices he employed in order to ‘speak’ to his readers and create a unified readership. Chapters four and five focus on Carlyle’s research methods. They examine the texts which Carlyle used for his research—original manuscripts, printed texts, letters, histories and biographies—investigating how these were incorporated into Frederick and evaluating whether or not Carlyle was true to his source material. Carlyle’s two trips to Germany in order to research material are also investigated. In Chapters six and seven, the contemporary reception of Frederick is explored. Chapter six focuses on the reaction to the first two volumes which were published together in 1858, whilst chapter seven investigates the response to the later volumes, exploring the ways in which the completed work influenced the public’s perception of Carlyle as a historian and ending by examining both Carlyle’s and Frederick’s places in posterity. Despite Carlyle’s labours on Frederick it never received the acclaim of his earlier productions but was regarded by many as a marker which signalled the end of Carlyle’s long and illustrious literary career.

The purpose of this study was threefold in nature. The first purpose was to study the life and educational background of Frederick Gordon Bonser in order to gain an understanding of the man and his educational purposes and objectives. A second purpose was to gain an insight into Bonser's philosophy of education; and the third purpose was to examine the available writings of Bonser in an attempt to analyze his philosophy of industrial arts as a phase of general education.

Este trabalho, tendo como objeto de investigação as narrativas dos abolicionistas Luiz Gama (1830-1882) e Frederick Douglass (1818-1895), pretende evidenciar a maneira como os aspectos linguísticos e semióticos se articulam nos processos de projeção discursiva do eu e de construção discursiva identitária, bem como demonstrar a maneira como cada enunciador apresenta suas escolhas discursivas por meio dos procedimentos de tematização e figurativização. Assim sendo, temos como uma das principais intenções contribuir para a ampliação de visões e perspectivas, teóricas e analíticas, acerca dos escritos de ex-escravizados. Por conseguinte, a linha teórica norteadora deste trabalho é a Semiótica Discursiva de linha francesa. Essa perspectiva, de origem estruturalista, tem como foco o estudo, a reflexão e a análise da estrutura interna do texto. Concebida como a teoria geral da significação, a Semiótica ocupa-se dos processos de articulação discursiva que promovem a construção dos efeitos de sentido dos textos. Com isso, o corpus selecionado para a execução da pesquisa foi composto pelos seguintes textos: o poema Quem sou eu? (1861), a Carta a Lúcio de Mendonça (1880), ambos de autoria de Luiz Gama, e Narrative of the life of Frederick Douglass, an American Slave (1845), escrita por Frederick Douglass / In this work, we take as object of investigation the narratives of the abolitionists Luiz Gama (1830-1882), Brazilian, and Frederick Douglass (1818-1895), American. Thus, we intend to evidence the way as the linguistic and semiotic aspects are articulated in the processes of discursive projection of the self and discursive construction of identity, as well as to demonstrate the way each enunciator presents his discursive choices through the thematization and figurativization processes. So, one of our main intentions is to contribute to the expansion of theoretical and analytical visions and perspectives, on the narrative of ex-enslaved. Consequently, the theoretical framework of this work is Discursive Semiotics. This perspective takes into account the study, reflection and analysis of the internal structure of the text. Conceived as the general theory of signification, Semiotics is engaged in the processes of discursive articulation that promote the construction of the meaning effects of the texts. Therewith, the corpus selected for this research comprises the poem Quem sou eu? [Who am I?] (1861), Carta a Lúcio de Mendonça [Letter to Lúcio de Mendonça] (1880), both written by Luiz Gama, and Narrative of the life of Frederick Douglass, an American Slave (1845), written by himself

O presente trabalho investiga, a partir da sociologia do cinema, uma seleção de filmes documentais do cineasta americano Frederick Wiseman (1930-). Trata-se de um documentarista com grande importância para o que ficou conhecido como cinema direto ou cinema vérité, uma corrente cinematográfica que, através de determinados artifícios formais ausência de narração, entrevistas ou intertítulos , causa uma forte impressão de realismo. Com isso, pretendi não apenas melhor compreender a produção deste cineasta como também refletir sobre algumas das construções narrativas presentes em seus filmes e, a partir disso, sobre algumas das relações entre cinema e realismo. Buscando trazer para a discussão este diretor pouco comentado na literatura brasileira, analisei aqui oito de seus filmes, distribuídos em três blocos temáticos: hospitais, exército e lazer. A análise se deu através de uma sociologia do cinema que compreende que a análise deve partir do próprio filme, compreendendo-o enquanto obra e enquanto a principal fonte de informação. No caso deste trabalho, a maneira pela qual Wiseman construiu imagens e narrativas ao longo de sua filmografia é interpretada enquanto uma resposta a uma das questões que permeia o cinema documental, qual seja, de como retratar e detalhar o real. Tendo isso em mente, podemos dizer que a câmera observadora não apenas observa. Ela narra, ela fala e ela argumenta. / In this thesis I investigate, by means of a sociology of cinema, a selection of films by the American filmmaker Frederick Wiseman (1930-). Being a documentary filmmaker of great importance for what became known as direct cinema or cinema vérité, a cinematographic trend that, by means of certain formal devices the absence of voice-overs, interviews of inter-titles leads to a strong impression of realism. Thereby, I intended to not only better comprehend Wisemans production as well as some considerations on the narrative constructions in his films, but also to consider some of the relations between cinema and realism. While I aim to bring forth a debate regarding this rarely discussed director within the Brazilian literature, I here analyze eight of his films, divided in three different themed topics: hospitals, military and leisure. The analysis was done by means of a sociology of cinema, which understands that the investigation must begin with the film itself, understanding it as a piece of work and as the main source of information. In this thesis, the manner by which Wiseman crafted images and narrative over the course of his filmography is seen as an answer to one of the questions that permeates documentary cinema, namely, on how to depict and detail reality. With this in mind, we can say that the observational camera does not merely observe. It narrates, it speaks and it argues.