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In 1976 Joan Kelly released her influential article “Did Women have a Renaissance?” Kelly argued that women did not enjoy any of the benefits of the period. Rather, she claimed, the lives of women were actually worse after the 1400s than they had been before. Since 1976, new primary documents authored by women have been discovered. Moreover, new access to relevant writings by authors like Francesco Barbaro, Pier Vergerio, Leonardo Bruni, Juan Luis Vives, and Erasmus make revisiting Kelly’s arguments possible. This thesis uses a sample of these texts to explore women’s experiences and create innovative avenues to explore in gender history. Towards those ends, it combines recent scholarship with primary documents to reveal an incongruence between the expectations placed on women and their self-identified lived experiences. It offers, thus, a more complicated world than that presented in Kelly’s paradigmatic study.

A fire station is a building where not too many things happen. But the few that do are either too forgettable or too memorable. This thesis tries to achieve time, innovation and realism. There's a redundancy in this building, in people's actions that makes it memorable. This building is the evidence of my way of thinking architecture. It reflects my memory as student and architect. It shows an undeniable background. It's questioning why buildings don't endure in time, why they are disposable objects. I'm trying to find reasons to make a building respectful, socially involved with its surroundings. The project is a midsize fire station. It answers to an actual necessity to relocate the existing fire station on Prince St. (Alexandria, VA) giving more space for firefighters and better access for two trucks. The new site is an existing parking lot that crosses a whole block from South Washington St. to South Columbus St. between Wilkes St. and Wolfe St. This site gave me the possibility to create a building where trucks can access and leave it without turning or maneuvering too much. / Master of Architecture

Through parallelism with characteristics of magical realism, the building is materialized by deciphering the unseen images latent in ordinary life. WAAC radio station. Old Town, Alexandria, Virginia. / Master of Architecture

Seriemediet inkorporerar lingvistiska och ikoniska tecken för att uttrycka etiska, moraliska, sociala och politiska budskap, vilka kan slätas över av en underhållande och tilltalande form. Detta gör mediet lämpligt för en retorisk analys. Ett omdiskuterat ämne inom seriemediet är dess gestaltning av kvinnor, å ena sidan i form av stereotypa könsroller och underrepresentation av verkligt intressanta kvinnliga karaktärer, å andra sidan sexualiserande porträtteringar, våld och övergrepp. Denna uppsats undersöker hur våld mot kvinnor gestaltas i mötet mellan olika typer av bilder och texter i ett och samma serieförfattarskap. Undersökningen genomförs med hjälp av Roland Barthes ”Rhétorique de l’image” (1964) och teorin om the male gaze som Laura Mulvey diskuterar i artikeln ”Visual pleasure and narrative cinema” (1975). Analysen inspireras av en komparativ metod beskriven av Lennart Hellspong i Metoder för brukstextanalys (2001). Uppsatsen granskar utdrag ur Watchmen, Batman: The Killing Joke och The League of Extraordinary Gentlemen av Alan Moore, en av vår tids mest ansedda författare inom seriemediet, också känd för att porträttera våld mot kvinnliga karaktärer.  Uppsatsens påvisade en ambivalens i porträtterandet av våld mot kvinnor i utdragen ur Alan Moores graphic novels, samt behovet av att problematisera såväl Alan Moores serier som Laura Mulveys the male gaze, men också möjligheten att använda hennes och Barthes teorier inom retorikdiskursens och seriemediets ramar för att granska hur samspelet mellan bild och text kan uttrycka olika typer av budskap och attityder.

La SLUB di Dresden conserva non solo preziosi manoscritti con le opere di Petrarca, molti di questi in italiano, ma anche moltissime stampe. I manoscritti e le stampe petrarcheschi presenti a Dresda sono una spia del successo dell’opera di Petrarca, ma anche, più in generale, della cultura italiana della quale Petrarca è considerato il campione in quanto padre dell’umanesimo. Ma dopo il XVIII secolo e in particolare nel XIX secolo Petrarca, dismesse nell’immaginario di molti intellettuali le vesti del filosofo morale, diventa sempre più il grande poeta volgare che ha descritto in versi perfetti il suo amore per Laura. Petrarca a Dresda diviene, durante il Romanticismo, il poeta del Canzoniere, l’opera poetica degna della raffinatissima traduzione metrica che Karl Förster porta a termine durante il primo ventennio del XIX secolo proprio nella capitale sassone, porto sicuro per tante opere e per tanti lettori del Petrarca volgare.

Made available in DSpace on 2016-04-27T16:59:06Z (GMT). No. of bitstreams: 1 Pedro Carlos Pereira.pdf: 18376347 bytes, checksum: 1a376622d69a097052c15892d0c31de2 (MD5) Previous issue date: 2010-06-10 / Taking the oral history as a guiding point, and desiring to contribute in the clarification of the history of Mathematics Education in Brazil, this work is based on contributions developed by Professor Maria Laura Mouzinho Leite Lopes to increasingly solidify the Brazilian Mathematics education. The guideline of the work is developped from the analytical look of her career, of national and international academic trajectory. During this journey, there is a moment in which Professor Maria Laura takes knowledge of how to teach and learn Mathematics under the French methodology presented by IREM. The nuclear theme of this research is to show how the life and work of Prof. Maria Laura is intrinsic to the moment when Maths education begins to be established in Brazil and how she influenced this moment. Another point raised are the interventions given by Prof. Maria Laura in the establishment of scientific societies in the area of Mathematics and Mathematics Education in Brazil, research groups and post-graduate courses in Maths Education in Rio de Janeiro, as well as a legacy consisting of books released by different publishers, papers published in various magazines, training courses for teachers and mathematics educators and the participation in congresses / Tendo como ponto norteador a história oral, e no desejo de contribuir para o clarificar da História da Educação Matemática no Brasil, o presente trabalho aporta-se nas contribuições que a Professora Maria Laura Mouzinho Leite Lopes desenvolve para cada vez mais solidificar a Educação Matemática brasileira. O traçado do trabalho se desenvolve a partir do olhar analítico de sua trajetória de formação escolar e acadêmica nacional e internacional. Observa-se que durante este percurso, há um momento em que a Profª Maria Laura toma conhecimento do como ensinar e aprender Matemática sob a metodologia francesa apresentada pelo IREM. A pesquisa ora apresentada tem como tema nuclear como a vida e obra da Profª Maria Laura está intrínseca no momento em que a Educação Matemática no Brasil começa a ser constituída e como ela influenciou esse momento. Outro ponto abordado são as intervenções que Profª Maria Laura deu na criação de sociedades cientificas na área de Matemática e Educação Matemática no Brasil, grupos de pesquisa e cursos de pós- graduação em Educação Matemática no Rio de Janeiro, assim como um legado constituído de livros lançado em diferentes editoras, artigos publicados em várias revistas, cursos de formação de professores (as) e educadores (as) matemáticos (as) e participações em congressos

This paper aims to investigate the terms and conditions of a lesbian gaze and a lesbian spectatorship from a feminist and queer theoretical point of view. The empirical material consists of three paintings by the American artist Romaine Brooks (1874-1970).  Brooks was based in Paris in the early 20th century where she was surrounded by a group of intellectual and usually cross-dressing lesbians. The women within this context are the ones depicted in Brooks’ paintings and this makes her one of the first artists in modernity to openly portray lesbian and cross-dressing women. Her paintings lead into new conditions for the traditional understanding of spectatorship as well as female positions, since there is no male involvement or presence within the interactive space surrounding these paintings. The survey tries to further investigate and break down already existing theories concerning spectatorship with the main focus on Laura Mulvey’s the male gaze, termed in the essay “Visual Pleasure and Narrative Cinema” (1975). The queer theoretical approach in this paper is based on Judith Butler’s performativity, which then is attached to gaze theories in order to investigate the active and passive positions found in Brooks’ paintings. The paper does also include an analysis of the male gaze in relation to modernism, avant-garde, canon and subsequently the reason behind Brooks’ absence in modernist canon.

This thesis is about covers of books and DVD movies. I have tried to find out if the visual communication of the covers differs between the book and movie with the same story. Do they appeal to different target groups? I have also been trying to find out what designers can do to increase the visibility of covers among others. Are there certain rules to follow for making a cover visible? To reach a conclusion I have been studying components in advertising pictures, since covers work as a kind of advertiser for the product. I have also been studying visual communication and how designers use advertising pictures to communicate with the observer. Semiotics, advertising and comparisons between the covers have been my method for analyze. I have come to the colclusion that covers of books and DVD movies do communicate in different ways and partly to different target groups. There are certain rules to follow if you want to increase the visibility of a picture among others. The results indicate that the book covers have an older target group than the DVD covers.

This dissertation illuminates the links between agriculture, popular culture, social class, and agrarian nostalgia. Using an interdisciplinary approach, I draw from the fields of American Studies, American History, Agricultural History, Environmental Studies, popular culture, and cultural geography. Consisting of four diverse case studies, my project focuses on America's evolving relationship with its agrarian roots from the late eighteenth century to the present. Each case study pays close attention to the ways in which the forces of modern consumerism have shaped public understanding of agricultural issues. The dissertation pivots on two main arguments: 1) the modern realities of industrialized agriculture have sparked a desire for highly romanticized visions of farming, particularly tourism to rural places that promise temporary pastoral transcendence to consumers, and 2) as a result of the public demand for idyllic constructions of American rural life, agrarian nostalgia has frequently been deployed in the service of commerce. From the writings of Thomas Jefferson and Laura Ingalls Wilder, to Currier and Ives painting, Martha Stewart's media empire, and state fairs of the American Midwest, I analyze a variety of highly romanticized cultural forms that enrich our understanding of the nation's agrarian heritage. Yet, I also make important links between the past and present, and demonstrate how and why debates about such issues as farm policy and the politics of food once again stand at the forefront of popular consciousness in the twenty-first century. / text