This thesis is devoted to an unsuccessful mission to Sofia undertaken in the fall of 1914 by Noel Buxton, a Liberal British M.P., who aimed to win Bulgaria over to the side of the Triple Entente. Although referred to on occasion in works having to do with the conduct of British foreign policy during the First World War, the affair has never before been described in full. Through a close examination of hitherto unexploited material from Buxton's own archive, it has been possible to reconstruct the evolution of the mission, analyze its contemporary significance, and suggest its relevance to current trends towards the moralization and democratization of diplomacy.

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This study examined the relationship between the academic satisfaction and social satisfaction among African American male students attending a community college in the state of Mississippi and their willingness to enroll if they had it to do over again. This study utilized a quantitative, Spearman correlation research design using existing data. The community college studied annually administers the Student Satisfaction Inventory (SSI), a product of Noel-Levitz, and provided the responses to the researcher. There were 405 students who participated in the survey for the year studied. Out of 405 students, 34 students identified as African American and male. The survey included 113 questions; there were 15 academic and 13 social satisfaction questions utilized for this study. Answers were given based on a 7-point Likert scale. Results from this study showed a significant relationship between academic satisfaction and social satisfaction as a predictor to African American males enrolling at this particular institution if they had it to do over again. This study enhances the ability for institutional administrators at this community college as well as other institutions of higher learning to make the best possible decision when implementing policies and procedures, based on the current enrolled student population.

Made available in DSpace on 2016-12-23T14:34:15Z (GMT). No. of bitstreams: 1 Dissertacao de Salvatore Collura.pdf: 2239132 bytes, checksum: 52a88d342611eef438faec70ef1b82c3 (MD5) Previous issue date: 2011-11-30 / Analizza la figura del malandrino dal punto di vista del personaggio e del suo llinguaggio nella produzione del compositore Noel Rosa, mettendo in evidenza le caratteristiche e le peculiarità del discorso noelino, così come le innovazioni da lui introdotte nell ambito della canzone popolare brasiliana, risultanti dalla coniugazione di vari fattori: musicale, tematico, linguistico e poetico. Contestualizza la figura del malandrino, esposta a cambiamenti significanti tra la fine del secolo XIX e i primi tre decenni del XX secolo, concentrando l analisi sul periodo di Noel Rosa e Getúlio Vargas. Sotto la luce della tematica del malandrino e del malandrinaggio, conduce un panorama storico, sociale, politico e culturale del periodo in analisi, osservando la diverse relazioni di Noel Rosa com il malandrino e il malandrinaggio. Discute i cambiamenti di prospettiva che Noel, cronista di Vila Isabel, propose riguardo la visione del malandrino: egli percepì che in una società in fase di grandi trasformazioni qual era Rio de Janeiro in quell epoca, l associazione dell immagine del malandrino dal coltello in tasca con il mondo del samba, poteva costituire un pericolo per il progresso della carriera artistica dei nuovi compositori / Analisa a figura do malandro, enquanto personagem e enquanto linguagem, na produção do compositor Noel Rosa, evidenciando as características e as peculiaridades do discurso noelino, bem como as inovações introduzidas por ele no âmbito da canção popular brasileira, que resultam da conjugação de vários fatores: musical, temático, linguístico e poético. Contextualiza a figura do malandro, que vivencia significantes modificações entre o final do século XIX e as primeiras três décadas do século XX, trazendo a discussão até o período de Noel e de Getúlio Vargas. Sob a luz da temática do malandro e da malandragem, atenta para um panorama histórico, social, político e cultural do período estudado, observando a relação multifacetada de Noel Rosa com o malandro e a malandragem. Diz respeito a uma mudança de perspectiva que Noel, cronista da Vila Isabel, propôs sobre a visão do malandro: ele percebeu que em uma sociedade em fase de grandes transformações assim como era o Rio de Janeiro daquela época a imagem do malandro de navalha no bolso, ligada ao mundo do samba, podia representar um perigo para o progresso da carreira artística dos novos compositores

A retired actress and her quirky family trap four guests in elaborately woven games in Noel Coward’s Hay Fever. Within the concept of “playing house,” the glamour of Coward’s work lives on through scenery, costumes, and lighting, while his quirkier side is highlighted in hopes of making his Comedy of Manners accessible to a new audience.

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This thesis addresses the growing impulse towards establishing a public, national collection of Old Master pictures for Britain, located in London, in the last quarter of the eighteenth-century. It does so by identifying the importance of individual conceptualizations of what such a collection might mean for a nation, and how it might come to be realized for an imprecisely defined public. My thesis examines the shifting dynamics between private and public collections during the period of 1775 to 1800, repositioning notions of what constituted space for viewing and accessing art in a national context, and investigates just who participated in the ensuing dialogues about various uses of art for the nation. To this end, three case studies have been employed. The first examines the collection of pictures assembled by Sir Robert Walpole and their public legacy. The second explores the proposal for a national collection of art put forth by art dealer Noel Desenfans. The third examines the frustrated plans of Sir Joshua Reynolds for his collection of Old Master pictures. Through the respective lenses provided by the case studies, it is demonstrated that the envisioning of a national gallery for Britain pitched competing perspectives against each other, as different kinds of people jockeyed for cultural authority. The process of articulating and shaping these ambitions with an eye towards national benefit was only beginning to be explored, and negotiations of private ambitions and interests surrounding picture collections for the public was further complicated by factors of social class and profession. This thesis demonstrate that the boundaries of participation in matters concerning art for the nation were not fixed regarding Old Master pictures and the value placed on them in late eighteenth-century London. / Thesis (Ph.D, Art History) -- Queen's University, 2009-01-26 09:01:22.591

Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2015-05-15T17:36:19Z No. of bitstreams: 1 Tese de Humberto Santos Pereira.pdf: 2157732 bytes, checksum: dd1ac4f5b7a48ce12781da69ccd2fab9 (MD5) / Approved for entry into archive by Ana Portela (anapoli@ufba.br) on 2015-05-19T13:42:04Z (GMT) No. of bitstreams: 1 Tese de Humberto Santos Pereira.pdf: 2157732 bytes, checksum: dd1ac4f5b7a48ce12781da69ccd2fab9 (MD5) / Made available in DSpace on 2015-05-19T13:42:04Z (GMT). No. of bitstreams: 1 Tese de Humberto Santos Pereira.pdf: 2157732 bytes, checksum: dd1ac4f5b7a48ce12781da69ccd2fab9 (MD5) / Constrói-se uma interpretação do processo de formação e consolidação do samba, na primeira metade do século XX, enquanto um campo, de acordo com a teoria de Pierre Bourdieu. Tendo sido originariamente sinônimo de festa improvisada, o samba é racionalizado e transformado em produto para se adequar às dinâmicas da indústria cultural. A partir desse ponto, vai se consolidando enquanto um campo no qual seus agentes disputam a legitimação. O sucesso do samba possibilitou a sua expansão, promovendo uma migração de outros artistas e públicos para esta arena. As disputas por capitais promoveram uma intensa disputa no interior do campo do samba, o que ocorreu principalmente a partir de diversas propostas de samba concorrendo entre si pela imposição do princípio legitimador nesta arena. A trajetória de Noel Rosa se coloca como um caso notável deste processo. Noel era um músico branco de classe média que entrou no campo do samba e buscou se legitimar de diversas formas. Desenvolveu uma estratégia multifacetada, na qual elogiava o malandro em determinados momentos e o atacava em outros. Na maior parte do tempo, tentou impor o rapaz folgado como alternativa ao malandro para possibilitar sua legitimação neste campo. O rapaz folgado era o malandro contido e inofensivo cujo perfil coincidiu com as propostas vitoriosas no campo do samba, que permitiram a nacionalização deste campo por volta dos anos 1940. The Thesis builds an interpretation of the process of formation and consolidation of samba in the first half of XXth century as a field, according to Pierre Bourdieu’s theory. Originally taken as a synonym of improvised party, the samba is rationalised and converted in a product to adapt itself to the dynamics of cultural industry. Then, it consolidates itself as a field in which the agents enter in a struggle for legitimation. The success of samba made possible its growth, promoting the coming of other artists and audience to this field. The search of capital promoted a intense dispute in the environment of samba as a field. This occurred mainly from diverse conceptions of samba in a struggle among themselves for the imposition of the legitimation principle in this field. Noel Rosa’s path its specially noticeable in this process. He was a middle class white musician that got into samba field looking to legitimate himself in many ways. He developed a multifaceted strategy through which he would sometimes complement the malandro and also attack him in other situations. Most of the time he tried to impose the rapaz folgado as an alternative to the malandro to make it possible his legitimating in this field. This rapaz folgado was the suppressed and harmless malandro whose profile coincided with the successful proposals in the world of samba that allowed the nationalization of its field in the 40s.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-06-26T21:08:04Z No. of bitstreams: 1 Afonso Felipe Galdino L. Romagna.pdf: 10001045 bytes, checksum: a595b0558e4f73d74fb27ed044db8572 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-06-30T21:40:00Z (GMT) No. of bitstreams: 1 Afonso Felipe Galdino L. Romagna.pdf: 10001045 bytes, checksum: a595b0558e4f73d74fb27ed044db8572 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-07-05T19:22:36Z (GMT) No. of bitstreams: 1 Afonso Felipe Galdino L. Romagna.pdf: 10001045 bytes, checksum: a595b0558e4f73d74fb27ed044db8572 (MD5) / Made available in DSpace on 2017-07-05T19:22:57Z (GMT). No. of bitstreams: 1 Afonso Felipe Galdino L. Romagna.pdf: 10001045 bytes, checksum: a595b0558e4f73d74fb27ed044db8572 (MD5) Previous issue date: 2016-10-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The movie Cidade Mulher (1936), produced by Brazil Vita Filme from the actress Carmen Santos and directed by Humberto Mauro, has a soundtrack mostly composed by Noel Rosa. This project proposes to rescue this film, provided the disappearance of many films from the same period, since it includes several relevant elements that reflect social and cultural issues from that time, such as samba and Noel Rosa’s work, a fiction about Rio de Janeiro as the emblematic Federal Capital, the work from Humberto Mauro who had just accomplish considerable success with Favela dos meus Amores (1935) and Carmen Santos, enthusiastic producer and actress of national and popular works. The rescue of Cidade Mulher musical repertoire will be essential to the comprehension of the relation between image and sound and to the understanding of the connection of the plot with the cultural and social environment in which it is set. / O filme Cidade Mulher (1936), produzido pela Brasil Vita Filme, da atriz Carmen Santos, e dirigido por Humberto Mauro, possui trilha sonora composta em quase sua totalidade pelo sambista Noel Rosa. Em face do desaparecimento de inúmeros filmes desse período, como é o caso de Cidade Mulher, esse projeto se propôs a resgatar o filme que, acreditamos, incluiu vários elementos significativos que refletem questões sociais e culturais da época: o samba e a obra de Noel Rosa, uma ficção sobre o Rio de Janeiro a emblemática Capital Federal, o trabalho de Humberto Mauro que acabara de realizar um grande sucesso com Favela dos meus Amores (1935); e Carmen Santos, entusiasta produtora e atriz de temas nacionais e populares. O repertório musical foi imprescindível para esse resgate e para a compreensão da relação entre a imagem e o som, e o enredo em sua relação com a cultura e a sociedade no qual está imerso.

AN ABSTRACT OF THE THESIS OFZachary Alley, for the Master of Fine Arts degree in Technical Direction, presented on March 27, 2022, at Southern Illinois University Carbondale. TITLE: I HAVE A FEVER FOR MORE PEACOCKS: TECHNICAL DIRECTION FOR HAY FEVER MAJOR PROFESSOR: Thomas FagerholmThe Hay Fever production was produced on December 2, 2021 at Southern IllinoisUniversity Carbondale’s School of Theater and Dance. This thesis will pull the reader through the ideas, planning, and construction of the realized scenic design that composed the work of the technical director on this production. Focuses on how the technical director maintained open communication between the production team throughout the process. The technical director strived to bring clear interpretations of the scenic elements into their drafting to be used by the build crews to make the set a reality within the time and budget. Hopefully by presenting this thesis to the reader they can have a more extensive understanding that the work of technical direction is even more involved than just the material world of set construction.