Thesis (B.A.)--Bryn Mawr College. Growth and Structure of Cities Program, 2008. / Includes bibliographical references.

Thesis (M.A.)--West Virginia University, 2010. / Title from document title page. Document formatted into pages; contains v, 78 p. Includes abstract. Includes bibliographical references (p. 64-78).

\"Galiano Ciampaglia. Razões de uma arquitetura\" - estuda um arquiteto que identifica as bases da profissão no ofício do pai, um mestre-canteiro a serviço de Ramos de Azevedo. Vinculado com seus pares, Jacob Ruchti e Miguel Forte, à historiografia da cidade através do edifício-sede IAB-SP, Galiano Ciampaglia (n.1913) é também protagonista do pioneirismo da Escola de Engenharia Mackenzie que, em 1939, forma a primeira turma de arquitetos paulistas reconhecidos pelo Ministério da Educação e da Saúde. Desenhado a partir de fragmentos de quase um século, o caráter do estudo é em primeiro lugar de natureza histórica. O diferencial do gênero é agregar a um estudioso de Frank Lloyd Wright e à uma produção focada na casa paulista, uma personalidade e uma formação ao mesmo tempo pragmática e erudita, fundamentais à compreensão de sua obra e de sua reserva. / \"Galiano Ciampaglia. Reasons for an architecture\" studies an architect that identifies as bases for his profession, his own father\'s occupation, as a master - mason that worked for Ramos de Azevedo. Together with his partners, Jacob Ruchti e Miguel Forte, Galiano Ciampaglia (born 1913) is connected to the history of the city as one of the designers of IAB-SP\'s main office. He is also a graduate of Mackenzie Engineering School\'s first class of architect\'s officially recognized in São Paulo by the Ministry of Education and Health. Drawn from the scraps of nearly a century, the essence of the study is primarily historic. The differentiation in this case is to add to this Frank Lloyd Wright admirator and a residential specialist, a personality and background at the same time pragmatic and erudite, fundamental to the understanding of his work and heritage.

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This thesis is a collection of five pieces of creative nonfiction written over the academic years 2003—2005. Creative nonfiction is a genre that, in some form or another, has always existed, though trends in form and style are constantly in flux. Based on the experiences of the actual author, creative nonfiction seeks to present the journey of a mind at work, in a style that is candid, quirky, and insightful. It seeks to persuade its reader by establishing a likeable and trusted narrator; by relating interesting facts that teach the reader something about the subject at hand; and by appealing to the reader's emotions, especially through techniques of metaphor and figurative language typically employed by writers of fiction, poetry, and drama. Thus, it utilizes the three main tools of rhetoric laid down by that great orator of yore, Aristotle; namely, ethos, logos, and pathos. Rather than exploring one subject in-depth, as is typical of a thesis, this work explores a number of different topics, as is typical of creative nonfiction. The topics include my physical quirks, especially a congenital defect that prevents me from smelling; my volunteer experiences at the Provo, Utah Boys and Girls Club; the traditions of fishing and storytelling in my family; and my burgeoning interest in family history, which was stimulated by a trip to Pine Valley, Utah—a small, rural town in southwestern Utah where some of my early Mormon ancestors settled. The pieces are united more by form than by content, as well as by having been filtered through a single consciousness. Mostly, they are supposed to be enjoyable reading.

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Building on Penelope Summerfield’s argument that the end of the Victorian music hall in the early twentieth century signaled not “death” but a class-conscious evolution of the genre prompted by a “process of deliberate selection later made to look natural and inevitable,” this project examines the acts of censorship and resistance which characterised the final years of the Victorian music hall. Selecting the 1912 Royal Variety or Royal Command Performance as the “end” point of the genre, and limiting my focus to London music halls, this project examines competing aims of working, middle, and upper class participants: it suggests that the upper-class aspirations of the managers of London’s music halls, paired with middle-class moral desire for social control over the working-classes, eventually enforced by the London County Council in the mid-late nineteenth century, saw the rise of “respectability” in the genre while severing its ties to London’s working classes. Juxtaposing ephemeral evidence produced by or focused on London music halls in the late nineteenth century (leading up to and including the 1912 Royal Command Performance) with contemporary research on the classed nature of social control and censorship practices, this thesis intends to make the classed-struggle for power and ownership over the identity of London’s music halls evident. In doing so, the thesis alludes to the potential success of a third wave of music hall or the neo-music hall, to replace out-dated reflections of the music hall revival sparked by “The Good Old Days” and nostalgia post World War II. / Thesis / Master of Arts (MA) / This thesis pairs an analysis of meeting minutes, newspaper articles, song-sheets, and theatrical programmes from London’s Victorian music halls with contemporary music hall scholarship and studies of censorship to add to the discussion of the genre’s “end” or “death.” Using the work of Judith Butler, this thesis is divided into a study of how censorship transformed the music hall’s landscape, content, and culminating performance from its onset. As a result, this thesis argues that the controlling factors which shaped the genre led to what other music hall scholars have considered its end. By identifying the styles and modes of censorship used in the evolution of the English music hall genre, and in in-period methods of resistance to social control, this project suggests the radical potential of the music hall form as a contemporary style of theatre.

Esta pesquisa apresenta uma abordagem teórico-analítica da questão da representação da docência em textos de ficção científica de três autores norteamericanos do século XX: Isaac Asimov, autor do conto Como se divertiam, de 1951; Lloyd Biggle Jr, que escreveu Maneira doida de lecionar em 1966 e Connie Willis, cuja narrativa analisada tem o título Muito barulho por nada e data de 1990. Discutir as relações potencialmente passíveis de serem estabelecidas entre o imaginário retratado nessas obras e a visão neoliberal contemporânea do ato de ensinar como objeto de automatização e normatização estrita pode certificar o fato de que tais representações idealizadas tornaram-se, em grande medida, paradigmas advindos das práticas do capitalismo avançado (as quais têm como modelo primário a nação estadunidense) capazes de influenciar a forma como são entendidas, representadas e planejadas as relações entre a figura docente e as tecnologias em nosso país. Portanto, como objetivo primário, elencamos a tentativa de compreender como é realizada a construção discursiva da representação do trabalhador da educação (e das tecnologias imaginárias que cercam essa representação), inserindo-a nas dimensões culturais do imaginário norte-americano a fim de discutir sobre seus reflexos contemporâneos e seu conteúdo determinístico. Para isso, metodologicamente empregamos a recensão e análise bibliográfica de artigos científicos e textos literários nacionais e estrangeiros (que incluíram, mas não se limitaram, às obras designadas como objetos) e, entre as conclusões levantadas, apontamos a constatação de que a relação do corpus com a indústria cultural não permite um afastamento radical das teorias educacionais tradicionalistas familiares aos leitores que constituem o público-alvo dos autores, além de destacarmos vieses marcados pelo determinismo nos textos, embora seja, em alguns casos, apenas insinuado ou surja em contraste com produções posteriores do escritor. Como apontamento final, entretanto, é possível enxergar o conteúdo último dos textos do corpus como prioritariamente humanista: Asimov retrata o desejo de um ensino comunitário em lugar do isolamento do discente em nome da eficiência; Biggle Jr. discute, de forma subjacente, a desvalorização da figura do docente ante uma técnica voltada para a maximização de resultados econômicos e, por fim, Willis coloca em pauta as possibilidades e perigos de tentar se banir ideologias do ambiente escolar, dentro de um molde supostamente democrático que acaba servindo à aniquilação das possibilidades de aprendizado. / This research presents a theoretical-analytical approach to the question of representation of teaching in science fiction texts of American authors of the 20th century: Isaac Asimov, author of The fun they had! (1951); Lloyd Biggle Jr, who wrote And madly teach at 1966 and Connie Willis, whose analyzed narrative is called Ado and dates back to 1990. Discuss the relationships potentially liable to be established between the imaginary depicted in these works and the contemporary neoliberal vision of the act of teaching as the object of automation and strict standardization can certify the fact that such idealized representations have become, to a large extent, paradigms from the practices of advanced capitalism (which have as their primary model the American nation) capable of influencing how relationships between teachers and technologies in our country are understood, represented and planned. Therefore, as a primary objective, we attempt to understand how the discursive construction of the representation of the education worker (and the imaginary technologies surrounding this representation) is carried out, inserting it into the cultural dimensions of the North American imaginary in order to discuss its contemporary reflections and its deterministic content. In order to do this, we methodologically used the review and bibliographical analysis of scientific articles and national and foreign literary texts (which included, but were not limited to, works designated as objects), and, among the conclusions drawn, we pointed out that the relationship of the corpus with the cultural industry does not allow a radical departure from traditionalist educational theories familiar to the readers who constitute the target audience of the authors, in addition to highlighting perspectives marked by determinism in the texts, although in some cases, it is just insinuated or emerged in contrast to subsequent productions of the writer. As a final point, however, it is possible to see the ultimate content of the texts of the corpus as having a humanistic priority: Asimov portrays the desire for a communal education in place of the isolation of the student in the name of efficiency; Biggle Jr. discusses, in a subtle way, the devaluation of the teacher's figure before a technique focused at the maximization of economic results and, finally, Willis points out the possibilities and dangers of trying to ban all the ideology of the school environment, following a supposedly democratic mold that ends up serving the annihilation of the possibilities of learning.

Esta pesquisa apresenta uma abordagem teórico-analítica da questão da representação da docência em textos de ficção científica de três autores norteamericanos do século XX: Isaac Asimov, autor do conto Como se divertiam, de 1951; Lloyd Biggle Jr, que escreveu Maneira doida de lecionar em 1966 e Connie Willis, cuja narrativa analisada tem o título Muito barulho por nada e data de 1990. Discutir as relações potencialmente passíveis de serem estabelecidas entre o imaginário retratado nessas obras e a visão neoliberal contemporânea do ato de ensinar como objeto de automatização e normatização estrita pode certificar o fato de que tais representações idealizadas tornaram-se, em grande medida, paradigmas advindos das práticas do capitalismo avançado (as quais têm como modelo primário a nação estadunidense) capazes de influenciar a forma como são entendidas, representadas e planejadas as relações entre a figura docente e as tecnologias em nosso país. Portanto, como objetivo primário, elencamos a tentativa de compreender como é realizada a construção discursiva da representação do trabalhador da educação (e das tecnologias imaginárias que cercam essa representação), inserindo-a nas dimensões culturais do imaginário norte-americano a fim de discutir sobre seus reflexos contemporâneos e seu conteúdo determinístico. Para isso, metodologicamente empregamos a recensão e análise bibliográfica de artigos científicos e textos literários nacionais e estrangeiros (que incluíram, mas não se limitaram, às obras designadas como objetos) e, entre as conclusões levantadas, apontamos a constatação de que a relação do corpus com a indústria cultural não permite um afastamento radical das teorias educacionais tradicionalistas familiares aos leitores que constituem o público-alvo dos autores, além de destacarmos vieses marcados pelo determinismo nos textos, embora seja, em alguns casos, apenas insinuado ou surja em contraste com produções posteriores do escritor. Como apontamento final, entretanto, é possível enxergar o conteúdo último dos textos do corpus como prioritariamente humanista: Asimov retrata o desejo de um ensino comunitário em lugar do isolamento do discente em nome da eficiência; Biggle Jr. discute, de forma subjacente, a desvalorização da figura do docente ante uma técnica voltada para a maximização de resultados econômicos e, por fim, Willis coloca em pauta as possibilidades e perigos de tentar se banir ideologias do ambiente escolar, dentro de um molde supostamente democrático que acaba servindo à aniquilação das possibilidades de aprendizado. / This research presents a theoretical-analytical approach to the question of representation of teaching in science fiction texts of American authors of the 20th century: Isaac Asimov, author of The fun they had! (1951); Lloyd Biggle Jr, who wrote And madly teach at 1966 and Connie Willis, whose analyzed narrative is called Ado and dates back to 1990. Discuss the relationships potentially liable to be established between the imaginary depicted in these works and the contemporary neoliberal vision of the act of teaching as the object of automation and strict standardization can certify the fact that such idealized representations have become, to a large extent, paradigms from the practices of advanced capitalism (which have as their primary model the American nation) capable of influencing how relationships between teachers and technologies in our country are understood, represented and planned. Therefore, as a primary objective, we attempt to understand how the discursive construction of the representation of the education worker (and the imaginary technologies surrounding this representation) is carried out, inserting it into the cultural dimensions of the North American imaginary in order to discuss its contemporary reflections and its deterministic content. In order to do this, we methodologically used the review and bibliographical analysis of scientific articles and national and foreign literary texts (which included, but were not limited to, works designated as objects), and, among the conclusions drawn, we pointed out that the relationship of the corpus with the cultural industry does not allow a radical departure from traditionalist educational theories familiar to the readers who constitute the target audience of the authors, in addition to highlighting perspectives marked by determinism in the texts, although in some cases, it is just insinuated or emerged in contrast to subsequent productions of the writer. As a final point, however, it is possible to see the ultimate content of the texts of the corpus as having a humanistic priority: Asimov portrays the desire for a communal education in place of the isolation of the student in the name of efficiency; Biggle Jr. discusses, in a subtle way, the devaluation of the teacher's figure before a technique focused at the maximization of economic results and, finally, Willis points out the possibilities and dangers of trying to ban all the ideology of the school environment, following a supposedly democratic mold that ends up serving the annihilation of the possibilities of learning.