Extensive questions have been asked regarding the factors that influence psychotherapeutic effectiveness. Past research has addressed the methods, techniques, as well as the client and therapist variables which potentially influence psychotherapeutic effectiveness. The majority of the research indicates that the therapeutic relationship and other contextual variables exert the greatest influence on psychotherapy successes. This implicates the broader social context in psychotherapy processes. Language appears to be one of the primary contextual factors influencing psychotherapeutic processes and is also embedded in social discourse. Society dominant discourses appear to be based on deficit beliefs toward psychotherapy and emotional functioning. The more relevant issue concerning psychotherapeutic effectiveness therefore appears to be society's dominant discourses affecting the profession. Collaborative social discourses embracing psychology are seldom integrated into mainstream public discourse. A post-modern, ecosystemic perspective is applied to these concerns, proposing a collaborative approach to social discourse, psychotherapy and research. This utilizes reflective, multi-dimensional, respectful and nonjudgmental values, reflecting the shift in social paradigms from the Industrial Age to the Knowledge Age. This shift recognizes that cultural, social and language variables appear to have a greater impact on psychotherapeutic effectiveness than most therapeutic techniques or interventions. These discourses are explored and recommendations are made in an attempt to align psychotherapy with a shifting social paradigm. This alignment could enhance psychotherapeutic effectiveness and the general understanding of psychotherapy. / Psychology / D.Litt. et Phil. (Psychology)

Assessment of the past helps one seize emerging opportunities. The Southern Baptist Convention's (SBC) Foreign Mission Board (FMB) radically redesigned itself July 1, 1997, the most far reaching self-assessment since its 1845 founding. The FMB's changes neglected some essential historical precedents. In 1892, a band of FMB missionaries posted with the North China Mission resigned and established their own operation. They held and integrated three core values: indigeneity, incarnation, and responsible autonomy. Baptist historians have dismissed these dissidents because they considered them Landmarkers (an earlier movement that threatened the SBC itself). Later historical inquiry corrected this assumption demonstrating that Landmarkers seized the Gospel Mission Movement to serve its own ends not the reverse. What prorrpted these missionaries to leave their base of support and operate independently? Original sources tell the tale of strong convictions about missions that were more commonly apparent later, in a post-modern era. Gospel Missionism's peers did not listen, partly because of the Landmarkist confusion and partly because they advocated things others were not prepared to hear. The Gospel Missioners found it difficult to sustain their experiment outside the SBC. Hence, survivors gradually reentered the FMB structure, primarily the Interior China Mission. Their influence extended to the next generation of missionaries. Yet, indirectly their values entered the FMB's strategies through outside evangelicals which increasingly espoused similar core values. By 1985, the Board tackled the challenge of the least evangelized peoples. Trustees formed Cooperative Services International (CSI) to accommodate the need. Unwittingly, from within the FMB, CSI embodied Gospel Missionism's core values with more modern emphases. In 1997, trustees restructured the FMB and dismantled CSI. They borrowed its drive and its penchant for streamlined administration, but jettisoned its priority passion for those least evangelized. Only time will tell, but there is evidence that the FMB has reverted and embraced elements of an older paradigm, possibly because it was unprepared to face a postmodern future. This study concludes that the Gospel Missionism movement was a blending of both enlightenment and post-modern missiological ideals. It was an incipient, evangelical version of a post-modern missiological paradigm. / Christian Spirituality, Church History and Missiology / D.Th. (Missiology)

Ce mémoire examine les poétiques de trois poètes très différentes, mais dont les œuvres peuvent être qualifiées d'indéterminées et de radicales : Emily Dickinson (1830-1886), Gertrude Stein (1874-1946) et Caroline Bergvall (née en 1962). Dickinson et Stein sont anglo-américaines, tandis que Bergvall est d’origine franco-norvégienne, bien qu'elle choisisse d’écrire en anglais. Toutes les trois rompent la structure syntaxique conventionnelle de l’anglais par leurs poétiques, ce qui comporte des implications esthétiques et politiques. Dans ce qui suit, j’analyse l’indétermination de leurs poétiques à partir de la notion, décrite par Lyn Hejinian, de la description comme appréhension qui présente l’écriture comme un mode de connaissance plutôt qu'un moyen d’enregistrer ce que le poète sait déjà. La temporalité de cette activité épistémologique est donc celle du présent de l’écriture, elle lui est concomitante. J'affirme que c'est cette temporalité qui, en ouvrant l’écriture aux événements imprévus, aux vicissitudes, aux hésitations, aux erreurs et torsions de l’affect, cause l'indétermination de la poésie. Dans le premier chapitre, j'envisage l'appréhension chez Gertrude Stein à travers son engagement, tout au long de sa carrière, envers « le présent continu » de l’écriture. Le deuxième chapitre porte sur le sens angoissé de l’appréhension dans la poésie de Dickinson, où le malaise, en empêchant ou en refoulant une pensée, suspend la connaissance. Le langage, sollicité par une expérience qu'il ne peut lui-même exprimer, donne forme à l'indétermination. Un dernier chapitre considère l’indétermination linguistique du texte et de l’exposition Say Parsley, dans lesquels Bergvall met en scène l’appréhension du langage : une appréhension qui survient plutôt chez le lecteur ou spectateur que chez la poète. / This thesis investigates the poetics of three very different female poets, whose works nevertheless are characterized as both indeterminate and radical: Emily Dickinson (1830-1886), Gertrude Stein (1874-1946), and Caroline Bergvall (b. 1962). Dickinson and Stein are Anglo-American, while Bergvall is of French-Norwegian descent yet writes in English, but all three fracture the conventional syntactic structures of the English language in their poetics. This move bears both aesthetic and political implications. In this thesis, I read the indeterminacies of their poetics through Lyn Hejinian’s notion of description as apprehension, which figures writing as a mode of knowing rather than a means of recording something the poet already knows. The temporality of epistemology in their work is thus the present tense of writing; thinking is concomitant with it. Following Hejinian, I contend that it is this temporality that, in making writing open to the vicissitudes, hesitations, reprisals, unexpected events, errors, and the torsions of affect, perturbs determination. The first chapter explores apprehension in Gertrude Stein’s work through her career-long commitment to the present tense of writing: perception occurs concurrently with composition. The second chapter, on Dickinson, hinges on the anxious dimension of apprehension, in which unease, in thwarting or repressing a thought, suspends its understanding. Indeterminacy figures as language claimed by an experience it can’t itself claim. Finally, the last chapter considers the linguistic indeterminacies of Say Parsley, where Bergvall stages the apprehension of language itself in using indeterminacy as a poetic strategy to determinate ends, placing the possibilities, uncertainties and responsibilities of apprehension onto the reader or spectator.

A partir da análise dos trabalhos do departamento de design da Cranbrook Academy of Art, durante o período coordenado por Katherine McCoy (1971 a 1995), este trabalho procura identificar os novos caminhos desenvolvidos pela escola para a prática do design gráfico contemporâneo, e em especial a concepção do design como parte do processo de comunicação. O design até os anos 1970 era regido por pressupostos formais, funcionais e neutros, o que talvez não permitisse entendê-lo como linguagem visual, em si, mas como mero suporte para o texto. Na escola, a abordagem funcionalista foi questionada nos anos 1970 e, a partir daí, nos anos 1980, inspirados por conceitos teóricos do pós-estruturalismo e pós-modernismo, foram introduzidas novas ideias a fim de legitimar o designer também como produtor de conteúdo. Ao buscar referências teóricas no pós-estruturalismo, percebeu-se a importância do receptor na interpretação da mensagem, assim como a necessidade de se produzir peças gráficas que encorajassem, a partir da relação do conteúdo com a forma gráfica, a participação do público. A escola, de modestas proporções, cuja média era a de 8 alunos ingressantes por ano, era baseada no ensino em estúdio, não possuía grade curricular fixa, nem disciplinas regulares. Os discentes eram sempre encorajados a pesquisar e se desenvolver. Muitas das pesquisas e resultados dos trabalhos são frutos da reflexão individual de cada aluno, inspirados pelo ambiente em contínuo desenvolvimento. A Cranbrook foi, dessa maneira, formadora de muitos dos principais designers norteamericanos atuais, como por exemplo Allen Hori, Andrew Bleauvelt, David Frej, David Shields, Ed Fella, Elliot Earls, Geoff Kaplan, Jane Kosstrin, Jeff Keedy, Kimberly Elam, Laurie Haycock Makela, Loraine Wild, Lucille Tenazas, Martin Venezky, Meredith Davis, Michael Carrabeta, Nancy Skolos, Richard Kerr, Robert Nakata, Scott Makela (1960-1999), Scott Santoro, Scott Zukowsky, entre outros. Cada um deles possuiu um papel particular e muitos compartilhavam idéias semelhantes, mas a maior parte deles procurou ampliar o campo do design gráfico agregando conteúdos mistos e abrindo-se a novas possibilidades de produção e reflexão sobre a relação entre texto e imagem. / With the analysis of the works from Cranbrook Academy of Art´s Design Department, under Katherine McCoy\'s Co-Chairmanship (1971 to 1995), this work intends identify the new ways developed by the School for the practice of contemporary graphic design, focusing on the concept of the design as part of communication process. Until the years 1970 design was ruled from the formal, functional and neutral presuppositions of Modernity, without the understanding of design as a visual language itself, but only as a mere support the text. In the 1970\'s the School questioned the functionalist approach, and during the 1980\'s years, new ideas were introduced to legitimate the designer as producer of contents, inspired by post-structuralism and post-modern concepts. Theoretical references in post structuralism stressed the importance of the receptor\'s interpretation of the message, as well in the importance of producing graphic works that encourage the participation from the public audience, founded in the relationship between content and graphic form. The School\'s graphic design program was modest in size 8 new students per year - and was studio-based without a fixed curriculum of courses and classes. The students were challenged to research and develop their individual expressions. Their research and resulting works are the fruit of the students\' individual reflection inspired by the continuously developing environment. Cranbrook produced many of the most important contemporary North American designers, such as Allen Hori, Andrew Bleauvelt, David Frej, David Shields, Ed Fella, Elliot Earls, Geoff Kaplan, Jane Kosstrin, Jeff Keedy, Kimberly Elam, Laurie Haycock Makela, Lorraine Wild, Lucille Tenazas, Martin Venezky, Meredith Davis, Michael Carrabeta, Nancy Skolos, Richard Kerr, Robert Nakata, Scott Makela (1960-1999), Scott Santoro, Scott Zukowsky, and others. Each one had a particular role play and many shared similar ideas, as they worked to enlarge the graphic design field with mixed contents and explored new possibilities of production and new roles for text and image.

Made available in DSpace on 2016-04-27T17:26:59Z (GMT). No. of bitstreams: 1 Laez Barbosa Fonseca.pdf: 917553 bytes, checksum: 1bbac41b066dc7acbe129971ffc3f860 (MD5) Previous issue date: 2011-10-19 / Our reflection starts on the finding that school education is suffering a moment of tension and crisis. The origin and the explanation for this phenomenon can be found in the coexistence, in the school environment of two paradigms, both opposite and divergent: one from the unity and the one from multiplicity, each one with its own features built in distinguished cultural moments. The former in the Modern Age and the latter in the Post-Modern Age. Based on an anthropological understanding which finds the human being constituted by desire and pursuit, at the same time, from the unity and the from multiplicity, we propose a dialectical method as a tool for the understanding, the approach and the overcoming of the two antagonistic paradigms surpassing the harmful aspects and keeping the achievements of each one for the educational practice. Then, we present some discussions starting from the dialectic, seeking a synthesis between the unity and the multiplicity. At the end of the study, we investigate some aspects of the Ignatian Pedagogy - a pedagogical purpose of the Jesuit education - demonstrating, from its documents and its educational tradition, as it is itself, dialectically, facing, and overcoming of the mentioned tensions and the dynamic feature of the crisis in school education / A presente dissertação tem como ponto de partida a constatação de que a educação escolar vive um momento de tensão e crise. A origem e a explicação desse fenômeno encontram-se na coexistência, no ambiente escolar, de dois paradigmas, opostos e divergentes: o da unidade, e o da multiplicidade, com suas características próprias, tecidos em cenários culturais distintos. O primeiro, na Modernidade; o segundo, na Pós-modernidade. Partindo de uma compreensão antropológica que entende o ser humano como constituído pelo desejo e busca, ao mesmo tempo, de unidade e de multiplicidade, propomos o método dialético, como ferramenta, para a análise dos dois paradigmas, superando os aspectos nocivos e conservando as conquistas de cada um deles para a prática educativa. Em seguida, apresentamos algumas reflexões, a partir da dialética, buscando nelas a síntese entre unidade e multiplicidade. Ao término do trabalho, investigamos alguns aspectos da Pedagogia Inaciana - proposta pedagógica da educação jesuíta - demonstrando, a partir de seus documentos e da sua tradição educativa, como ela procede, dialeticamente, no enfrentamento, encaminhamento e superação das tensões e da crise, características do dinamismo presente na educação escolar

Made available in DSpace on 2016-04-29T14:27:20Z (GMT). No. of bitstreams: 1 Eduardo Malaspina.pdf: 1994330 bytes, checksum: d860fc294df66ef6a36b32728f2df77b (MD5) Previous issue date: 2012-04-10 / Such an essay proposes an angle for reflection upon Catholic Church documents about ecclesiastic life and communication. The theme brings out a reflection moment from the Tridentin Period (Post-Reform and Against-Reform) and goes through the Conciliar period (Vatican II Ecclesial Council) and directly influences upon Latin American and Caribbean Church with CELAM documents about communication. Through a critical historic analysis based on interdisciplinary interaction main modern and post-modern cultural aspects could be pictured, and thus enlighten a smoother path which led to a better understanding on the existing disruption and continuity expressions before theological and ecclesiastic questionings in the scope of communication. Modern times and post-modernity both have caused enormous changes in people's way of thinking, acting and living, in social groups as well as in Church. In a fast changing world, communication ways also do change so rapidly and influence forming a rather complex global society. In the evangelization process, communication is surely a big concern, especially in the aspect of striving to look for means to keep providing people with the right feedback within such a challenging 'theological place' which is nowadays media society / Esta dissertação apresenta uma reflexão à luz dos documentos da Igreja Católica sobre vida eclesial e comunicação. O trabalho resgata, à largas pincelas, uma linha de reflexão que parte do período Tridentino (Pós-Reforma e Contra-Reforma), invade a época Conciliar (Concilio Vaticano II) e repercute na Igreja da América Latina e Caribe na forma dos documentos do CELAM ao apresentar a temática sobre comunicação. Através de uma análise históricocrítica, servindo-se da interação dialógica interdisciplinar, colhe e destaca os principais traços característicos da cultura moderna e pós-moderna e oferece chaves de maior compreensão das expressões de ruptura e continuidade diante das indagações teológicas e eclesiológicas no âmbito comunicacional. Tanto a modernidade, como a pós-modernidade acarretaram grandes transformações na forma de pensar, agir e viver das pessoas, dos grupos sociais e da Igreja. Em um mundo em transformação, mudam as formas de comunicação e a sua influência na complexa sociedade globalizada. Na agenda das questões a cerca da evangelização, a temática da comunicação ocupa um lugar substancioso, sobretudo como maneira de encontrar respostas pastorais por parte da Igreja, dentro desse lugar teológico que é a sociedade midiática

Made available in DSpace on 2016-04-26T18:17:17Z (GMT). No. of bitstreams: 1 Elisa Marsiaj Gomes.pdf: 831859 bytes, checksum: a11591effba460fd0a38839b283b5095 (MD5) Previous issue date: 2008-06-25 / The objective of this approach is to investigate the cultural multiidentities construction process in post-modern societies by analysis of the video FROM a visual research of the city of London and, consequently, also to reflect about the production of knowledge by visual thought way. Methodologically, the concepts of ryzom and multiplicity by Deleuze and Guattari were fundamental, as were the theoreticians, Manuel Castells, Massimo Canevacci, Nestor Canclini and Stuart Hall, for the comprehension of the relation network in these societies. In order to consider the visual production in the scientific research development, the notion of relation thinking, by André Parente, and the studies of hipermidiatic environment, by Sérgio Bairon, were utilized. In the first stage, based on FROM, this investigation relates the concept of ryzom with the mesh which permeates cosmopolitan cities, identifies the multiple cultural identities and analyses how they are constructed and deconstructed in this network of connections and fluxes, upon which the construction process of visual research is analyzed as a thought by images and in network. Besides the text, a hypermedia was created, showing relations established during the whole work process. This is the visual and interactive result of an artistic-scientific interdisciplinary research which allows for production of knowledge / O objetivo desta abordagem é investigar o processo de construção das multiidentidades culturais nas sociedades pós-modernas pela análise do vídeo FROM uma pesquisa visual da cidade de Londres e, conseqüentemente, também refletir sobre a produção de conhecimento por um modo de pensar visual. Metodologicamente, foram fundamentais os conceitos de rizoma e de multiplicidade, de Deleuze e Guattari, somados aos dos teóricos Manuel Castells, Massimo Canevacci, Nestor Canclini e Stuart Hall, para a compreensão da rede de relações dessas sociedades. A fim de pensar sobre a produção visual no desenvolvimento da pesquisa científica, utilizei a noção de pensamento de relações, de André Parente, e os estudos sobre ambientes hipermidiáticos de Sérgio Bairon. Na primeira etapa, pelo FROM, esta investigação relaciona o conceito de rizoma com a malha que permeia as cidades cosmopolitas, identifica as múltiplas identidades culturais e analisa como elas são construídas e desconstruídas dentro dessa rede de conexões e fluxos, para, em seguida, analisar o processo de construção da pesquisa visual como um pensar pelas imagens e em rede. Além do texto, criou-se uma hipermídia, que mostra as relações estabelecidas durante todo o processo de trabalho. Tratase de um resultado, visual e interativo, de uma pesquisa interdisciplinar, artístico-científica, que possibilita produção de conhecimento

Ce mémoire examine les poétiques de trois poètes très différentes, mais dont les œuvres peuvent être qualifiées d'indéterminées et de radicales : Emily Dickinson (1830-1886), Gertrude Stein (1874-1946) et Caroline Bergvall (née en 1962). Dickinson et Stein sont anglo-américaines, tandis que Bergvall est d’origine franco-norvégienne, bien qu'elle choisisse d’écrire en anglais. Toutes les trois rompent la structure syntaxique conventionnelle de l’anglais par leurs poétiques, ce qui comporte des implications esthétiques et politiques. Dans ce qui suit, j’analyse l’indétermination de leurs poétiques à partir de la notion, décrite par Lyn Hejinian, de la description comme appréhension qui présente l’écriture comme un mode de connaissance plutôt qu'un moyen d’enregistrer ce que le poète sait déjà. La temporalité de cette activité épistémologique est donc celle du présent de l’écriture, elle lui est concomitante. J'affirme que c'est cette temporalité qui, en ouvrant l’écriture aux événements imprévus, aux vicissitudes, aux hésitations, aux erreurs et torsions de l’affect, cause l'indétermination de la poésie. Dans le premier chapitre, j'envisage l'appréhension chez Gertrude Stein à travers son engagement, tout au long de sa carrière, envers « le présent continu » de l’écriture. Le deuxième chapitre porte sur le sens angoissé de l’appréhension dans la poésie de Dickinson, où le malaise, en empêchant ou en refoulant une pensée, suspend la connaissance. Le langage, sollicité par une expérience qu'il ne peut lui-même exprimer, donne forme à l'indétermination. Un dernier chapitre considère l’indétermination linguistique du texte et de l’exposition Say Parsley, dans lesquels Bergvall met en scène l’appréhension du langage : une appréhension qui survient plutôt chez le lecteur ou spectateur que chez la poète. / This thesis investigates the poetics of three very different female poets, whose works nevertheless are characterized as both indeterminate and radical: Emily Dickinson (1830-1886), Gertrude Stein (1874-1946), and Caroline Bergvall (b. 1962). Dickinson and Stein are Anglo-American, while Bergvall is of French-Norwegian descent yet writes in English, but all three fracture the conventional syntactic structures of the English language in their poetics. This move bears both aesthetic and political implications. In this thesis, I read the indeterminacies of their poetics through Lyn Hejinian’s notion of description as apprehension, which figures writing as a mode of knowing rather than a means of recording something the poet already knows. The temporality of epistemology in their work is thus the present tense of writing; thinking is concomitant with it. Following Hejinian, I contend that it is this temporality that, in making writing open to the vicissitudes, hesitations, reprisals, unexpected events, errors, and the torsions of affect, perturbs determination. The first chapter explores apprehension in Gertrude Stein’s work through her career-long commitment to the present tense of writing: perception occurs concurrently with composition. The second chapter, on Dickinson, hinges on the anxious dimension of apprehension, in which unease, in thwarting or repressing a thought, suspends its understanding. Indeterminacy figures as language claimed by an experience it can’t itself claim. Finally, the last chapter considers the linguistic indeterminacies of Say Parsley, where Bergvall stages the apprehension of language itself in using indeterminacy as a poetic strategy to determinate ends, placing the possibilities, uncertainties and responsibilities of apprehension onto the reader or spectator.

Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted. These works are situated historically and characteristics of both styles are highlighted with particular regard to Late or Post-Modernism. / Graduate

This dissertation is a study of a remarkable change that came about in the kind of drawings that architects used to present their work between the decades of 1960 and 1990. Drawings in this period, visually rich and compositionally complex, seemed to mark an entirely new sensibility towards their function; their goal seemed to be not so much to clearly depict the forms of a proposed building, but to instead focus on its conceptual aspects. In fact, in several cases, drawings seemed to be treated as graphic projects in their own right, over and above the work they presented. This trend was accompanied by two other developments. Around the same time, there was a sudden increase in theoretical interest in drawings within the architectural community leading to a flurry of published articles, essays and books on the topic. And all this happened to coincide with the time that the Postmodern movement came to dominate architecture. The study aims to understand the relationship between these trends, and to develop a better understanding of the reasons for these changes to have occurred. It does so by, first, developing a theoretical framework to help understand the nature and impact of the changes in drawings. Next, it presents a detailed historical account of these changes. This is followed by an in-depth study of a single architect, James Stirling, to show how the new types of drawings were not simply a means to present ideas, but played a formative role in design as well. Apart from developing a contextualized historical account of an important development in contemporary architectural history, the study also finds that the change in the drawing practice and the theoretical interests were not simply an outcome of Postmodern cultural theory of the period, but were instigated by concerns that arose from within architecture itself. It thus offers a useful case-study on how changes in disciplinary practice are brought about.