Thesis (B.A. (Hons.))--University of Adelaide, Dept. of History, 1980.

Informe de Seminario para optar al grado de Licenciado en Historia. / En este pequeño estudio abordaré las condiciones de existencia de la encomienda en el norte chico durante el Siglo XVIII, recogiendo para ello Visitas, Informes de distintos funcionarios, cartas, y Cedulas reales.

Para poder acceder al concepto de intermedia, primero tenemos que analizar su instalación en el campo de las artes. Instalación complicada, ya que el concepto se refiere tanto a un tipo de obra como a una práctica artística; asimismo, se refiere a una determinada “actitud” frente al quehacer artístico. Cualquiera de estas tres líneas nos dirige a los sitios de disputa en los cuales dichas obras, dichas prácticas y dichas actitudes se han puesto en tela de duda, sitios de la teoría y la crítica de las artes que rechaza las nociones que las neovanguardias desarrollaron como resultado de sus postulaciones y modos de operación. Por otro lado, tenemos que el marco teórico que respalda las nociones del concepto de arte intermedia es, en sí mismo, un espacio intermedial, un discurso donde la práctica y la teoría se confunden, se mezclan, se hallan en constante proceso de reflexión, una suerte de operación abierta para quienes desean contribuir o acceder a éste. Es un marco teórico que, como finalidad última, entiende la noción de lo “intermedial” como una problemática histórica en torno a los campos de percepción y las relaciones entre lo visual, lo textual y lo sonoro, en un primer nivel, y las relaciones entre sus combinatorias y los factores sinestésicos que pueden entrar en juego. Asimismo, es una instancia de producción y de manejo de recursos que, con el paso de los años, se ha convertido en un ejercicio cotidiano de la producción artística, estableciendo parámetros y definiciones que las distinguen pero que son, originalmente, parte de dicha actitud “intermedial”.

Higgins (1987) argued that perceived discrepancies between actual-self and ideal-self increase vulnerability to depression. Ogilvie (1987) argued that discrepancies between actual-self and undesired-self are more powerful determinants of depression. To test these claims, and to assess the effects of mood on reported discrepancies, 190 psychology undergraduates completed measures of their actual, ideal, and undesired selves, along with measures of depression (Depression Adjective Checklist and Beck Depression Inventory) and depression proneness (Depression Proneness Rating Scale). Approximately 3 weeks later, 147 of these participants were assigned to either a positive, negative, or no mood induction procedure, and again completed measures of actual, ideal, and undesired selves. Actual-ideal discrepancies were associated with current depression (' r' =.19, 'p' =.008) and with depression proneness ('r' =.28, 'p' =.001). More importantly, the relationship between actual-ideal discrepancies and depression proneness was, to some extent, independent of current mood, as measured by the DACL (partial ' r' =.19, 'p' =.008). <p>Nevertheless, induced moods also affected the reporting of actual-ideal discrepancies, with negative mood induction increasing discrepancy scores and positive mood induction decreasing discrepancy scores (<math> <f> <g>b</g></f> </math> =.49, 'p' <.0005). The above results are qualified by finding that when induced into a negative mood, high depression-prone participants (those with a history of depression) showed greater increases in actual-ideal discrepancies than low depression-prone participants, suggesting that self-discrepancies are cognitive structures that can be made accessible (primed) by mood. Lastly, no support was found for Ogilvie's claim that actual-undesired self discrepancies can be more powerful determinants of depressive vulnerability than actual-ideal self-discrepancies.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-20T11:11:39Z No. of bitstreams: 1 fabianafatimadiasdesouza.pdf: 9893838 bytes, checksum: 669fa5e68c923b74f24a092d918958cf (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-22T15:17:45Z (GMT) No. of bitstreams: 1 fabianafatimadiasdesouza.pdf: 9893838 bytes, checksum: 669fa5e68c923b74f24a092d918958cf (MD5) / Made available in DSpace on 2016-07-22T15:17:45Z (GMT). No. of bitstreams: 1 fabianafatimadiasdesouza.pdf: 9893838 bytes, checksum: 669fa5e68c923b74f24a092d918958cf (MD5) Previous issue date: 2011-09-01 / O campo de estudos da História da Educação Física no Brasil reúne contribuições de interessantes pesquisas que buscam revelar os códigos e os sentidos deste saber no interior da escola brasileira desde o século XIX. O presente trabalho analisa a atuação e a produção teórica de Arthur Higgins, professor e mestre de gymnastica, considerado no final do XIX como o professor da moda. Por meio de um trabalho histórico que tem como fontes documentos escolares, publicações em jornais e os compêndios de Higgins, nosso objetivo é analisar a atuação e a obra de Arthur Higgins de maneira a refletir sobre os objetivos e os sentidos da Educação Física no Brasil durante o final do século XIX e início do XX. Analisamos inicialmente os Jogos Gymnasticos organizados por Arthur Higgins na Praça da República/RJ, uma forma de disseminação de atividades esportivas em nosso país. Em seguida abordamos documentos do Colégio Pedro II relacionados à gymnastica, instituição da qual Higgins foi professor durante quase 40 anos. Por fim analisamos a teoria de Arthur Higgins exposta em seus manuais e compêndios, como o “Compendio de Gymnastica e Jogos Escolares” (1894), o “Manual de gymnastica hygienica” (1902) e o “Compendio de Gymnastica Escolar: Methodo Sueco-Belga” (1909), que ao ser atualizado passou a se chamar “Compendio de Gymnastica Escolar: Methodo Sueco-Belga-Brasileiro” (1934). / The field of study of the History of Physical Education in Brazil congregates contributions of interesting research that seek to reveal the codes and directions of knowing within the school in Brazil since the nineteenth century. This paper analyzes the performance and theoretical production of Arthur Higgins, a professor and teacher of gymnastics, considered in the end of the nineteenth as professor of the fashion. Through a historical work, which is sourced of school documents, publications in journals and Higgins’s compendium, the objective is to analyze the performance and textbook of Arthur Higgins for reflect about the objectives and directions of Physical Education in Brazil during the late of nineteenth and early twentieth centuries. Initially were analyzed the Gymnastic Games organized by Arthur Higgins in Praça da República/ RJ, a form of dissemination of sports in our country. After that, we explain documents of Colégio Pedro II related to gymnastics, the institution of which Higgins was a teacher during almost 40 years. Finally we analyze the theory of Arthur Higgins exposed in their manuals and compendium, such as “Compendio de Gymnastica e Jogos Escolares” (1894), “Manual de gymnastica hygienica” (1902) and “Compendio de Gymnastica Escolar: Methodo Sueco-Belga” (1909), which when was updated, was renamed the “Compendio de Gymnastica Escolar: Methodo Sueco-Belga-Brasileiro” (1934).

No description available.

At the beginning of American involvement in the Second World War the United States Navy developed a new class of vessel that had a tremendous impact during World War II. This vessel was the Patrol Torpedo boat. Originally designed to conduct torpedo attacks on enemy surface vessels, the PT boat successfully adapted multiple roles in addition to being a torpedo attack craft. The versatility of the Patrol Torpedo boat during World War II serving in these various roles and as an element of the US Navy has not been recognized by recent scholarship. Using primary sources from the National Archives in College Park, Maryland, and secondary sources this paper demonstrates that the Patrol Torpedo boat was a weapon that exemplified economy of force. A small inexpensive naval vessel was able to replace larger ships and work with different elements of the fleet to deny the use of coastal waters to the enemy.

Between the years 1960 and 1970, New York gallerist Leo Castelli was closely involved with Milanese editor and publisher Bruno Alfieri's Metro magazine--an international review of contemporary art. By placing his artists in Metro, Castelli inserted them into the world of Italian art criticism and theory. This recontextualization familiarized the American artists of Castelli's gallery to a European audience and positioned them at the end of a succession of modern European styles. Specifically, Castelli's artists, each of whom engaged in a form of pictorial figuration, were seen as ending the dominance of the "pure" abstraction of the French informel style. This thesis uses the archive of correspondence between Bruno Alfieri and Leo Castelli to examine Castelli's contribution to Metro during the 1960s. Departing from this chronology, it also seeks to understand the unique brand of figuration that each of Castelli's artists brought to Metro, given cues from contemporary Italian theory and criticism--particularly that of Gillo Dorfles, who wrote on several of Castelli's artists. / text