Arbetets ena syfte är att identifiera gatukonstnären Banksys stil och se vilka faktorer som kan lyftas fram som "Banksyska". Det andra syftet är att undersöka hur Banksy förhåller sig till begreppet "konstvärld" som teoretikerna Arthur Danto, George Dickie och Howard Becker talar om. Efter att ha observerat och granskat ett stort kvantitativt urval av Banksys gatukonstverk valdes ett antal verk ut, som sedan analyserades genom en semiotisk analysmetod. Genom de semiotiska analyserna och uttalanden från Banksy gick det att konstatera ett tydligt mönster av färgstarka, schablonmåleriska, ironiska, paradoxala och främmandegjorda bilder utifrån den auktoritära kontext som karaktärerna i bilderna brukar ses i. Det gick även att konstatera att Banksys relation till konstvärlden är paradoxal utifrån uttalanden och de semiotiska analyserna, då han påstår sig vara ointresserad av konstvärlden samtidigt som han deltar i den.

ABSTRACT LUCY DIGGS SLOWE, HOWARD UNIVERSITY DEAN OF WOMEN, 1922-1937: EDUCATOR, ADMINISTRATOR, ACTIVIST by Lisa R. Rasheed Within the last twenty years, some educational researchers initiated an emphasis to study the accomplishments and contributions of African-American women in higher education. Although they were marginally recognized, some African-American women forged into uncharted territories by providing examples of administrative leadership in post-secondary settings. Their triumphs and failures have gone unnoticed, leaving a vacant space in the chronicles of history in higher education. Little is know about one African-American woman, as an administrator at a co-educational institution in terms of her vision about her position as a professional, her view of student-oriented services and activities, and her acknowledgement and realization of the need for a student-centered community as a vital context for learning. Using historical methods, this study examines the life and work of Lucy Diggs Slowe, Howard University Dean of Women from 1922 until her death in 1937. The purpose of this study is to offer a more comprehensive illumination about Slowe’s experiences and contributions as an educational leader. Lucy Diggs Slowe was a woman of strong constitution and substance. A woman of many firsts, she was one of the founding members of the African-American sorority Alpha Kappa Alpha in 1908. Slowe would go on to leave an indelible imprint philosophically, professionally, and personally on the lives she touched as both an administrator at Howard University and a member of the Washington, D.C. community. Slowe’s contributions are worthy of study to better understand how she embodied leadership by focusing on her career in higher education as an administrator.

This thesis argues for the centrality of the Howard women to their family's political fortunes by exploring key dynastic episodes, themes, and events of Henry VIII's reign from a new female perspective. The Howards were England's premier aristocratic dynasty during this period. However, existing narratives have prioritised the careers of the Howard men, notably the two Dukes of Norfolk and the Earl of Surrey. Here, the family's women are foregrounded. They are not considered in isolation, but discussed alongside their male relations in order to create a fuller, more complex dynastic picture than currently exists. Themes of rebellion, dynastic identity, matriarchy, patronage, treason and religion are woven through events of familial and national importance, allowing new conclusions to be drawn regarding the Howard women and the Howard narrative itself; the way that aristocratic dynasties operated; the activities of women within the political sphere; and the relationship between this family and the Henrician state. This thesis draws its conclusions from new archival research into the activities of five Howard women: Agnes Tylney (c. 1477-1545) and Elizabeth Stafford (c. 1497-1558), the wives of the 2nd and 3rd Dukes of Norfolk respectively; Agnes' daughters Anne, Countess of Oxford (c. 1498-1558) and Katherine, Countess of Bridgwater (d. 1554); and Elizabeth's daughter Mary, Duchess of Richmond (c. 1519-1557). These five women cover three generations and two concurrent branches of the Howard family across the entirety of Henry's reign. The thesis differs from traditional gender studies by focusing on women all from one family rather than those of particular court status or geographical location, as this facilitates exploration of the relationship between kinship networks and politics. Thus it also builds on recent scholarship emphasising the role of the family in early modern politics, and reveals the Howard women as important actors on a public, political stage.

There is no abstract available for this thesis.

Thesis (Ph.D.)--Tufts University, 2004. / Adviser: Barbara W. Grossman. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 245-257). Also available via the World Wide Web; Access restricted to members of the Tufts University community.

Thesis (M.A.)--University of North Carolina at Greensboro, 2007. / Title from PDF title page screen. Advisor: Karen Weyler; submitted to the Dept. English. Includes bibliographical references (p. 36-38 , p. 66-68).

Th.--Lettres--Paris-Sorbonne, 1995. / Bibliogr. p. 266-267.

This thesis examines the crucial role of spirituals and freedom songs during the American Civil Rights movement from 1955-1968. Singing this music and speaking their lyrics affirmed African Americans' humanity, inspired hope for justice, and nurtured community development. When they sang, activists experienced "egalitarian resonance"-- spontaneous community among singers and listeners crossing race, age, gender, and class differences. These moments modeled the ideal American, multiracial community. In the absence of a 24/7 news cycle, freedom songs instantly provided a grassroots history of the movement. Both artistic expression and vocal protest, spirituals testified to the resilience of the human spirit. Created by African American slaves, spirituals expressed human psychological, emotional, and physical suffering. During twentieth-century segregation, W.E.B. Du Bois, James Weldon Johnson, and Howard Thurman wrote about spirituals and racial oppression. They understood spirituals expressed hope for justice despite despair. During the Civil Rights Movement, Rev. Martin Luther King, Jr. quoted spirituals and freedom songs, linking past suffering with present persecution. Forming part of nonviolent protest, spirituals offered hope for an all-inclusive, "beloved community." Between 1955 and 1968, freedom songs chronicled events and persons, orally recording the movement as it happened. Protesters sang long-established spirituals and newly-created freedom songs composed while working to open public facilities and to expand the franchise to all persons. Singing together in mass meetings solidified the resolve of participants and community members. When the movement spread from a regional to national phenomenon, freedom songs began showing other music influences including blues, rock and roll, and folk rock.

H.P. Lovecraft, em seus ensaios e cartas, nos oferece uma reflexão riquíssima sobre a narrativa de horror e como esta deve se expressar na literatura. O autor cunhou o termo Horror Cósmico para denominar sua teoria estética. Porém, mais do que ser uma teorização sobre o horror na literatura, o Horror Cósmico é uma teorização sobre como deve ser a narrativa que Lovecraft julga ser a ideal para as histórias que deseja contar. Nessa perspectiva, a análise de sua ficção, acompanhado dos conhecimentos adquiridos pela análise pormenorizada de seus ensaios e cartas sobre o tema, permitem ao leitor compreender melhor sua obra, chegando assim a uma interpretação aproximadamente correta de sua ficção. O objetivo deste trabalho, portanto, é compreender como suas teorizações se refletem em seus textos ficcionais. Os contos e respectivas transposições fílmicas selecionadas foram analisados sobre o prisma destas teorizações. Para alcançarmos esse objetivo primeiro analisamos os seus contos comparativamente com os textos não ficcionais, a fim de compreendermos a forma como o autor expressa o conceito de Horror Cósmico em sua prosa ficcional. Após a compreensão dos elementos teóricos de Lovecraft em sua ficção, analisamos as transposições fílmicas selecionadas sob esse mesmo prisma. Pesquisas bibliográficas foram realizadas com o objetivo de construir um referencial teórico para a abordagem proposta. / H.P. Lovecraft, in his essays and letters, offers the reader powerful insights into the subject of horror and how it should be expressed in literature. The author coined the term Cosmic Fear to name his aesthetic theory. However, in addition to being a theory about horror in literature, Cosmic Fear is a theory about how the ideal horror story (as Lovecraft wishes to write it) should be. From this perspective, the analysis of Lovecraft´s fiction, accompanied by the knowledge acquired through a detailed analysis of his essays and letters on the subject, allows the reader to better understand his work, thus reaching an approximately correct interpretation of his fiction. The goal of our research, therefore, is to understand how Lovecraft´s aesthetic theory works in his fiction. The short stories, novels and the filmic transpositions we selected for this research were analyzed under the prism of these theories. To achieve this goal we analyzed his fiction by comparing it first to his non-fiction in order to understand the concept of Cosmic Fear in his fiction. After understanding Cosmic Fear in Lovecraft´s fiction, we analyzed the selected filmic transpositions under the same prism. Bibliographic references were used with the purpose of building a theoretical framework for the proposed approach.

Made available in DSpace on 2014-06-11T19:24:37Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-26Bitstream added on 2014-06-13T18:20:48Z : No. of bitstreams: 1 pequini_at_me_ia_prot.pdf: 1618505 bytes, checksum: 10e50376685e5858e3bbc163ba26d9e1 (MD5) / A pesquisa de caráter exploratório, de cunho teórico desenvolvida pelo mestrando, demonstrou em linhas gerais o sentido que H. Gardner conferiu à educação artística. Apesar da dissertação não ter cumprido o seu objetivo primeiro de avaliar a possível relevância da teoria das IM nos processos de ensino aprendizagem musical, a pesquisa demonstrou na fundamentação teórica, que o autor projetou para os pesquisadores em arte, a tarefa de promover um estudo pormenorizado da cognição artístistica e o desenvolvimento de uma psicologia das artes, a partir da comprensão dos símbolos artísticos e de como o indivíduo pensa a arte. Ele vê a arte como uma das possibilidades de comunicação do homem com o mundo, portanto deve ter no ensino, a mesma importância das demais áreas do conhecimento humano. Para ele as artes se formam a partir de imagens sensoriais, elas são apreendidade pelo intelecto, mas também provocam respostas afetivas e se preocupam com a qualidade do sentimento. Daí a importância no seu aprendizado. Elas fazem aflorar estágios psíquicos e cognitivos ideais para o aprimoramento humano. A partir de uma estrutura que envolve os organismos de fazer, perceber e sentir, Gardner demonstra como os indivíduos se envolvem nas artes e como eles se desenvolvem psiquicamente a partir desta estrutura. Trabalhando numa visão sistêmica, o autor projeta para a educação artística a perspectiva de modular de um modo eficaz os valores da cultura; os meios disponíveis para a educação nas artes e sua avaliação; e os perfis individuais e de desenvolvimento dos estudantes que serão ensinados. A dissertação de mestrado contou com uma Introdução que narra o projeto inicial, o capítulo I que retratou a teoria das IM de Gardner e a fundamentação teórica utilizada para consolidar sua teoria. O Capítulo II descreve a... / Not available.