Thesis (M.A.)--Catholic Theological Union at Chicago, 1997. / Vita. Includes bibliographical references (leaves 137-144).

Thesis (M.A.)--Trinity Evangelical Divinity School, Deerfield, Ill., 1998. / Abstract. Includes bibliographical references (leaves 101-114).

Thesis (M.A.)--Trinity Evangelical Divinity School, Deerfield, Ill., 1998. / Abstract. Includes bibliographical references (leaves 101-114).

Thesis (M.A.)--Trinity Evangelical Divinity School, Deerfield, Ill., 1998. / Abstract. Includes bibliographical references (leaves 101-114).

abstract: In times of fast paced technology, the ability to differentiate quality differences between a reproduction and an original work of art has new urgency. The use of digital reproductions in the classroom is a useful and convenient teaching tool, but can convey visual distortions specifically in regards to texture, size, and color. Art educators often struggle to achieve a balance between incorporating the use of digital technology and fostering an appreciation for experiences with original artworks. The purpose of this study was to examine the ways in which Dewey's theory of experiential learning explains how thoroughly high school students differentiate between a reproduction and original artwork. This study also explored the influences of painting style (realistic or semi-abstract) and sequence on a student's ability to identify the differences and select a preference between the reproduction and original artwork. To obtain insight into how a student is able to differentiate between a reproduction and an original artwork, this study engaged 27 high school student participants in viewing a digital reproduction and the respective original artwork of one realistic and one semi-abstract painting at the ASU Art Museum. Analysis of qualitative and quantitative data suggests that sequence influences a student's ability to differentiate between a reproduction and original artwork. Students who saw reproductions before viewing the originals, demonstrated a more comprehensive understanding of the differences between the two presentation formats. Implications of this study include the recommendation that art educators address definitional issues surrounding the terms original and reproduction in their teaching, and consider collaborative ways to prepare students for meaningful experiences with original artworks. / Dissertation/Thesis / M.A. Art 2011

Submitted by Debora Molina (debimol@hotmail.com) on 2018-04-02T23:03:52Z No. of bitstreams: 1 DISSERTAÇÃO DÉBORA- VERSÃO PARA SUBMTER.pdf: 1889428 bytes, checksum: 6a602e44903194ed7eafb6da453d0532 (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-04-03T18:17:27Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO DÉBORA- VERSÃO PARA SUBMTER.pdf: 1889428 bytes, checksum: 6a602e44903194ed7eafb6da453d0532 (MD5) / Made available in DSpace on 2018-04-03T18:17:27Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO DÉBORA- VERSÃO PARA SUBMTER.pdf: 1889428 bytes, checksum: 6a602e44903194ed7eafb6da453d0532 (MD5) / CAPES / A proposta desse trabalho consiste em refletir acerca da concepção de autoria no que diz respeito ao autor de escrita não-criativa, atuando como um gênio não original. As principais fontes teóricas são, então, o livro de Kenneth Goldsmith (2011), criador do termo “escrita não criativa” e a proposição da crítica americana Marjorie Perloff (2013) sobre a possibilidade de pensarmos uma nova condição do autor no contemporâneo como um “gênio não original”. A dissertação propõe-se, então, a partir dessas noções, a reconhecer um processo criativo no procedimento da apropriação, da técnica do recorte e cole e defender a hipótese de que há uma ambiguidade da condição autoral no presente, pois se por um lado pode-se afirmar o esvaziamento do papel do autor nas produções da escrita não criativa, por outro, é possível reconhecer que o novo papel assumido pela autoria nessas produções também pode ser responsável pela construção de um nome de autor para o campo literário, como acontece com Leonardo Villa-Forte, cujos projetos Paginário e MixLit são aqui analisados.

1 score (viii, 129 p. ： music) / Age of Legends is an original orchestral composition in three movements, of approximately twenty minutes in duration. In the tradition of the literature-inspired symphonic poem, the piece is based on the celebrated fiction series The Wheel of Time , by acclaimed American author Robert Jordan (1948-2007). The title of the thesis refers to a particularly enchanting era described in the series, wherein the magical and miraculous are interwoven into everyday life. The piece's three movements portray a purely musical depiction of the breathtaking adventures that unfold throughout the fourteen-volume fantasy saga, evoking its richly imaginative scenes and thrilling, dramatic developments. Additionally, the music seeks to embody the intense emotional and psychological states experienced in the lives of The Wheel of Time 's fascinating literary characters, as they undergo defining moments of tremendous bravery, extreme peril, and exultant triumph. / Committee in charge: Dr. Robert Kyr, Chair; Dr. David Crumb, Member; Dr. Jack Boss, Member

Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-07-11T14:35:15Z No. of bitstreams: 1 DISSERTAÇÃO DÉBORA- VERSÃO PARA SUBMTER.pdf: 2193806 bytes, checksum: b647a7ef9362ff9ed02c995b58aaba84 (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-07-11T16:39:48Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO DÉBORA- VERSÃO PARA SUBMTER.pdf: 2193806 bytes, checksum: b647a7ef9362ff9ed02c995b58aaba84 (MD5) / Made available in DSpace on 2018-07-11T16:39:48Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO DÉBORA- VERSÃO PARA SUBMTER.pdf: 2193806 bytes, checksum: b647a7ef9362ff9ed02c995b58aaba84 (MD5) / A proposta desse trabalho consiste em refletir acerca da concepção de autoria no que diz respeito ao autor de escrita não-criativa, atuando como um gênio não original. As principais fontes teóricas são, então, o livro de Kenneth Goldsmith (2011), criador do termo “escrita não criativa” e a proposição da crítica americana Marjorie Perloff (2013) sobre a possibilidade de pensarmos uma nova condição do autor no contemporâneo como um “gênio não original”. A dissertação propõe-se, então, a partir dessas noções, a reconhecer um processo criativo no procedimento da apropriação, da técnica do recorte e cole e defender a hipótese de que há uma ambiguidade da condição autoral no presente, pois se por um lado pode-se afirmar o esvaziamento do papel do autor nas produções da escrita não criativa, por outro, é possível reconhecer que o novo papel assumido pela autoria nessas produções também pode ser responsável pela construção de um nome de autor para o campo literário, como acontece com Leonardo Villa-Forte, cujos projetos Paginário e MixLit são aqui analisados. / The purpose of this work is to reflect on the conception of authorship with regard to the author of non-creative writing, acting as a non-original genius. The main theoretical sources are, therefore, the book by Kenneth Goldsmith (2011), creator of the term “uncreative writing" and the proposition of the American critic Marjorie Perloff (2013) on the possibility of thinking a new condition of the author in the contemporary like a “unoriginal genius". The dissertation proposes, then, from these notions, to recognize a creative process in the procedure of appropriation, the technique of the cut and paste and defend the hypothesis that there is an ambiguity on the authoral condition in the present, so if one can affirm the absence on the author's role in the productions of uncreative writing, on the other hand, it is possible to recognize that the new role assumed by authorship in these productions can also be responsible for the construction of an author's name for the Literary field, as Leonardo Villa-Forte, whose projects Paginário and MixLit are analyzed here.

abstract: This study catalogues symphonies for wind band from the origin of the genre in the late eighteenth century through 2014. Wind bands include any mixed wind group of eight or more players. Works using the word "symphony" or its derivatives in the title are included in the study. A total of 1342 works that fit these criteria were identified. An annotated bibliography (Appendix A) includes detailed information about 695 of these works. Such information was not available for an additional 621 wind band symphonies; consequently, these works are listed in a second appendix that includes a list of sources for each work so that future researchers might investigate them further. The final appendix lists 26 wind band symphonies that are no longer available based on the author's current sources. The titles included in this study were found by examining many repertoire resources for the wind band, including previous studies of wind band symphonies and more comprehensive repertoire resources like the Heritage Encyclopedia of Band Music and the website "The Wind Repertory Project." Details of each piece in the annotated bibliography were found in their scores whenever possible. Contact with composers and publishers, through both their websites and direct correspondence, played a major role in this part of the study. The classified bibliography in this document sorts all of these sources categorically for easy reference. All parts of this document are intended as tools for conductors wishing to research or program symphonies for wind band. / Dissertation/Thesis / Doctoral Dissertation Music 2015

Submitted by JULIANA BARACAT null (jbbaracat@hotmail.com) on 2017-08-27T18:49:49Z No. of bitstreams: 1 Da sedução traumática ao trauma da sedução- BARACAT, J.pdf: 1521466 bytes, checksum: ee8bf449f47678d57be3c563d34a52c5 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-08-29T17:42:55Z (GMT) No. of bitstreams: 1 baracat_j_dr_assis.pdf: 1521466 bytes, checksum: ee8bf449f47678d57be3c563d34a52c5 (MD5) / Made available in DSpace on 2017-08-29T17:42:55Z (GMT). No. of bitstreams: 1 baracat_j_dr_assis.pdf: 1521466 bytes, checksum: ee8bf449f47678d57be3c563d34a52c5 (MD5) Previous issue date: 2017-07-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa tem como objetivo estabelecer um diálogo entre as teorias do trauma de Sándor Ferenczi de Jean Laplanche, a fim de relacionar os pontos convergentes presentes nos autores. Para tanto, procedeu-se a uma revisão bibliográfica a fim de destacar a especificidade do pensamento de cada autor. Discorreu-se sobre a vida e obra de Ferenczi a título de efetuar um resgate do autor e pontuar os principais conceitos envolvidos em sua concepção de trauma. Depois, descreveu-se a trajetória de pesquisa de Laplanche, a qual eclodiu na renovação teórica apresentada em sua teoria da sedução generalizada. Ao final, articulou-se os principais conceitos teóricos presentes na teoria de ambos para discutir a noção de trauma oriunda destas. Destacou-se quatro pontos fundamentais sobre os quais a análise teórica foi feita: a abertura psíquica; o papel do outro na constituição subjetiva; a noção de corpo como parasitado pelas representações desligadas e a noção de après-coup como característica da temporalização do humano. Como resultado caracterizou-se dois tipos de trauma descritos pelos autores: o trauma fundamental e o trauma intromissivo. Também se certificou que para os autores o caráter exógeno da formação psíquica implica a relação com o outro originário, cujas mensagens pulsionais incidem sobre a criança, instaurando a tópica inconsciente. Assim, pode-se pensar nos aspectos éticos implicados no cuidado parental e nas possibilidades profiláticas da terapêutica psicanalítica. / This research aims to establish a dialogue between the trauma theories of Sándor Ferenczi and Jean Laplanche, to enable to indicate their convergence points. Therefore, proceeded a bibliographical review to point out the specificity of each author’s thoughts. Ran through the life and work of Ferenczi to evaluate the author rescue and point out his major concepts about the trauma. Than, described Laplanche’s research, which emerges in a theorical renovation presented in the general seduction’s theory. In the end, we articulate the major concepts present in both authors to discuss the notion of trauma from them. We accentuated four conceptual axes to proceed to an theorical analysis: the psychic openning; the role for the other in the psychic constitution; the notion of body as parasited by desconnected representations and the notion of après-coup as caracateristic of human temporalization. As result, we caracterized two types of trauma as described by the authors: a fundamental trauma and the intromissive trauma. Also certificates that for these authors the psychic formation has an exogenous character implicated in the relationship with the original other, which pulsional messages affects the child, instituting the unconscious topic. So, we can think about the ethical aspects of the child’s care and the possibilities of psychoanalytical terapeutics.