Thesis (Ph. D.)--Oregon State University, 2007. / Printout. Includes bibliographical references (leaves 198-205). Also available on the World Wide Web.

No description available.

Thesis (Ph. D.)--University of Chicago, Dept. of History, March 2001. / Includes bibliographical references. Also available on the Internet.

In the late nineteenth century, the use of pastels underwent a revival and many young British artists adopted the medium as a new means of expression. This surge in popularity was marked by three exhibitions dedicated to contemporary works in pastel held at the Grosvenor Gallery in London between 1888 and 1890. These shows attracted over three hundred participants and culminated in the formation of the Society of British Pastellists in 1890, which counted amongst its eminent members William Stott of Oldham (1857-1900), James Guthrie (1859-1930), George Clausen (1852-1944) and Elizabeth Armstrong (1859-1912). Despite its auspicious beginnings this movement was short-lived and the society disbanded the following year. This has caused scholars to treat the use of pastel by British artists as just a passing fad in the oeuvres of individual artists and in studies of contemporary stylistic trends. Yet, the varying involvement of these four artists with the most pioneering art movements in Britain would suggest that this medium formed an intrinsic part of their move towards a modern aesthetic. Thus, the diverse approaches of these artists will form a prism through which to examine the importance of materiality for the development of new subject matter and stylistic innovations. This study will involve not only a consideration of the formal properties of these works but also the culture in which they were produced, exhibited and critically received. Indeed, it is hoped that by situating these pastels within a wider cultural context that a further understanding of their long-term significance in the canon of modern art in Britain can be achieved. In this way, I believe that this study will contribute towards a new position for pastel as a modern medium that was essential for the invention of new artistic practices at this time.

The purpose of this study is to investigate the Gothic novel, a much neglected and misunderstood school, as a unified literary cycle. Attention has been centred on the domains or sub-systems of the novel where cultural models and generic traits are particularly important and distinguishable: character, plot (with the necessary evocation of a fictional world), theme and symbol. No apology is offered for the many quotations: far too little recourse is made to the texts in most discussions of the Gothic novel and this has all too frequently led to misapprehensions and unfounded generalizations. The opening section places the genre in a historio-literary context, and centres attention on the major novels, while the final section opens additional perspectives on the cycle, suggests the importance of the Gothic school for modern times, and illustrates the inevitability of its central vision of evil.

Topic of this dissertation are compound adjective, their development and usage during two historical periods. Compounding is on the edge of czech word-formation methods. This method of creating new lexical units has spread the most during Czech National Revival as one way of expanding czech lexicon. Authors used mostly semantic fullness, economy of expression and uncommonness of compounds in both specialized and artistical texts and in both prosaical and poetical texts. Compounding already started to evolve more in Baroque period, compounds were used for their communicative value and unusualness. Basic classification is adopted from monograph Česká kompozita diachronně by Dušan Šlosar (1999), secondarily from monograph Tvoření slov skládáním by Ivana Bozděchová (1994). The aim of the work is to capture development of structures used in adjective compounds formation during these two periods, also to examine their occurences, functions and types, how they developed and changed during the periods of Baroque and Czech National Revival. The work contributes to analytical examination of the historical development of word-formation level of czech language, specifically of the method of compounding.

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2014-10-21T20:48:46Z No. of bitstreams: 4 Dissertação- Bento Alves Araújo Jayme Fleury Curado- 2013 (1).pdf: 13758635 bytes, checksum: 50490e925b27e8e46c76a9c6c748c01e (MD5) Dissertação- Bento Alves Araújo Jayme Fleury Curado- 2013 (2).pdf: 13517825 bytes, checksum: 03fed3ef7b2113708da7c283221be574 (MD5) Dissertação- Bento Alves Araújo Jayme Fleury Curado- 2013 (3).pdf: 13248081 bytes, checksum: 262e021982400f4d8119fd86230ec88e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-10-22T19:09:23Z (GMT) No. of bitstreams: 4 Dissertação- Bento Alves Araújo Jayme Fleury Curado- 2013 (1).pdf: 13758635 bytes, checksum: 50490e925b27e8e46c76a9c6c748c01e (MD5) Dissertação- Bento Alves Araújo Jayme Fleury Curado- 2013 (2).pdf: 13517825 bytes, checksum: 03fed3ef7b2113708da7c283221be574 (MD5) Dissertação- Bento Alves Araújo Jayme Fleury Curado- 2013 (3).pdf: 13248081 bytes, checksum: 262e021982400f4d8119fd86230ec88e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-22T19:09:23Z (GMT). No. of bitstreams: 4 Dissertação- Bento Alves Araújo Jayme Fleury Curado- 2013 (1).pdf: 13758635 bytes, checksum: 50490e925b27e8e46c76a9c6c748c01e (MD5) Dissertação- Bento Alves Araújo Jayme Fleury Curado- 2013 (2).pdf: 13517825 bytes, checksum: 03fed3ef7b2113708da7c283221be574 (MD5) Dissertação- Bento Alves Araújo Jayme Fleury Curado- 2013 (3).pdf: 13248081 bytes, checksum: 262e021982400f4d8119fd86230ec88e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-05-02 / This research entitled "in the footsteps of Sloth: cutting transport time and memory estradão goiana" discuss in detail, with the goal of forming a documentary and registry, the contribution of costing animals (horses, Mares, steers, cows, mules, donkeys, mules, asses, crossbows) for identity and survival of Goias people over time, when you open the paths of geographical grande sertão of Central Brazil, also called lejanía, Outback, Mashhad, end of the world. The beiçudos held the national integration at the expense of sacrifice, of the struggles and toils of drovers, carreiros, Commissioners, comets, peddlers, pastoralists, who, using the power of work, brought goods, information, knowledge, culture and identity. The problems that focused the present work is permeated in question: With the current technology and the contemporary transformations the beiçudos were relegated to ostracism, as you think? Will be that society has progressed so much in resources that forgot the values of time passed, our training and our identity? To do so, through studies of historical geography, will be grounded the postulates in understanding the role of geographical categories in the drafting of important foundations, historical and geographical formation of Goiás State people, with the opening of paths and roads, the use of beiçudos in all the activities of rural and urban, in everyday chores, at leisure and culture; will be analyzed two journals, a trip to an illustrious Lady Augusta Faro Fleury Curado, in 1896 and the diary of a Drover, Gabriel Alves de Carvalho, from the beginning of the 20th century in their daily toil. Beiçudos ' contributions will be identified that shed as a form of inspiration in all artistic manifestations from Goiás, literature, media, music, sculpture, theatre, folklore, arts, as well as the use of beiçudos in hodierna as different modalities in therapy treatments such as exhibitionism in rodeos and exhibitions millionaires, in misery of slums and garbage dumps or when the man takes the place of the slothby dragging in the geography of the inequalities of the metropolises, the carts and stands amidst the chaotic traffic. In this way, we seek to prove that the beiçudos are icons of resistance and differently, are inserted into human coexistence. There is a sturdy cangalha that unites us, yesterday and today. / A presente pesquisa intitulada “Nos passos do transporte beiçudo: cortando o estradão do tempo e da memória goiana” busca discutir em detalhes, com o objetivo de formar um documentário e registro, a contribuição dos animais de custeio (cavalos, éguas, bois, vacas, mulas, jegues, asnos, jumentos, bestas) para a identidade e sobrevivência do povo goiano ao longo do tempo, ao abrir os caminhos geográficos do grande sertão do Brasil Central, também chamado de lonjura, cafundó, cu de Judas, fim de mundo. Os beiçudos realizaram a integração nacional a custa do sacrifício, das lutas e labutas de tropeiros, carreiros, comissários, cometas, mascates, boiadeiros, que, utilizando da força do trabalho, carrearam mercadorias, informações, conhecimento, cultura e identidade. A problemática em que se centrou o presente trabalho está permeada na indagação: Com a tecnologia atual e as transformações hodiernas os beiçudos foram relegados ao ostracismo, como se pensa? Será que a sociedade progrediu tanto em recursos que esqueceu os valores do tempo passado, de nossa formação e de nossa identidade? Para tanto, por meio de estudos da Geografia histórica, serão alicerçados os postulados na compreensão do papel das categorias geográficas na elaboração de fundamentos importantes, a formação histórica e geográfica do povo goiano, com a abertura de caminhos e estradas, a utilização dos beiçudos em todas as atividades do mundo rural e urbano, nos afazeres cotidianos, no lazer e na cultura; serão analisados dois diários, um de viagem de uma ilustre dama, Augusta de Faro Fleury Curado, em 1896 e o diário de um tropeiro, Gabriel Alves de Carvalho, do começo do século XX em sua labuta diária. Serão identificadas as contribuições dos beiçudos que se derramam como forma de inspiração em todas as manifestações artísticas goianas, na literatura, imprensa, teatro, música, escultura, folclore, artes plásticas, assim como a utilização hodierna dos beiçudos em modalidades diferentes como terapia em tratamentos, como exibicionismo em rodeios e exposições milionárias, na miséria de favelas e lixões ou quando o homem assume o lugar do beiçudo, arrastando na Geografia das desigualdades das metrópoles, as carroças e carrinhos em meio ao trânsito caótico. Dessa forma, busca-se provar que os beiçudos são ícones da resistência e de maneira diversa, estão inseridos na convivência humana de forma definitiva. Há uma cangalha resistente que nos une, no ontem e no hoje.

A viola chegou ao Brasil com os portugueses e desde então é citada em documentos históricos, mas sem uma descrição detalhada de modo a permitir uma identificação precisa, já que a palavra viola é empregada para inúmeros instrumentos. No entanto, podemos constatar características semelhantes nas violas brasileiras colhidas em campo, na primeira década do século XX, e nas violas portuguesas colhidas em campo, nesta mesma época, e destas com violas portuguesas do século XVI e do século XVIII que chegaram até nós. Na região Centro- Sul do Brasil, a viola caipira, principal instrumento das práticas musicais tradicionais desta região, é adotado para outros estilos de música e sofre significativas modificações provindas da luteria violonística. Neste sentido, iremos mostrar que, na década de 1960, uma série de acontecimentos musicais envolvendo este instrumento, uns isolados, uns derivando de outros, vão construindo o estabelecimento da viola como importante instrumento da música brasileira atual. Dentro desta perspectiva, tivemos de nos defrontar com o preconceito, ainda existente, à palavra caipira e, para tal, buscamos reflexões de importantes estudiosos sobre o que diz respeito ao mundo do caipira: sua fala, seus costumes, sua música; seu passado e seu presente. No caso específico da música, para termos uma visão crítica atual, enviamos a pergunta \"música caipira - o que é e o que não é?\" a pessoas de diferentes áreas culturais ligadas ao universo caipira. Na análise das respostas, verifica-se o quão diverso é o entendimento sobre a música caipira. Retomando o tema central de nossa tese, o avivamento da viola caipira só foi possível graças ao interesse de um público consumidor de arte, da mídia radiofônica e da indústria da cultura. Para analisarmos este fato, mostramos as estratégias e o papel de diretores e produtores artísticos em levar ao disco as práticas musicais ligadas à viola. Com as condições primordiais estabelecidas, música, público e mídia, a partir da década de 1980 verifica-se o processo de consolidação da viola caipira em um cenário que envolve a escritura da arte, recitais e concertos de violeiros solistas, gravações de discos e vídeos, a viola nos conservatórios e escolas de ensino, pesquisas de campo, Festivais e Seminários por toda a região caipira, publicações de livros e métodos de ensino, teses acadêmicas, a viola na música concertante e, por fim, a viola na universidade, consolidando de forma definitiva a viola caipira na música brasileira da atualidade, colocando-a em um outro patamar artístico. Finalmente, em meados da segunda década do século XXI, podemos dizer de um cenário bastante consolidado. A viola, definitivamente, se estabelece como importante instrumento da música brasileira e a amplidão de seu uso é facilmente verificada - dos lundus de mestres violeiros às composições para viola e orquestra sinfônica. / The viola caipira came to Brazil with the Portuguese and has since been cited in historical documents, but without a detailed description to enable accurate identification, since the word is used to numerous instruments. However, we can see similar characteristics in Brazilian violas harvested in the first decade of the twentieth century and in the Portuguese violas harvested at this same time, and of those with Portuguese violas from the sixteenth and the eighteenth century that have survived to this date. In the Center-South region of Brazil, the viola caipira, the main instrument of traditional musical practices in the region, is adopted for other styles of music and undergoes significant changes stemmed from guitar making. In this sense, we will show that in the 1960s a series of musical events involving this instrument, some isolated, some deriving from others, are building the establishment of the viola as an important instrument of contemporary Brazilian music. Within this perspective, we had to cope with the prejudice that still exists regarding the word caipira, and for that we sought reflections of leading scholars on what concerns the caipira world: its speech, customs, music, past and present. In the specific case of music, to have an updated critical view, we sent the question \"caipira music - what is and what is not?\" to people from different cultural areas related to the caipira universe. In analyzing the responses, it appears how manifold is the understanding of caipira music. Returning to the central theme of our thesis, the revival of the viola caipira was only possible thanks to the interest of a consumer public of art, the radio media and the culture industry. To analyze this fact, we show the strategies and the role of artistic directors and producers to take to the disc musical practices related to the viola. With the basic conditions laid down, music, public and media, from the 1980s on, there is the consolidation of the viola in a scenario that involves the writing of art, recitals and concerts of solo viola players, recording of albums and videos, the viola in conservatories and schools of education, in field research, in Festivals and Seminars throughout the caipira region, in publications of books and teaching methods, academic theses, the viola in concertante music, and finally, the viola in the university, consolidating definitively the viola in Brazilian music today, putting it in another artistic level. Finally, in the middle of the second decade of this century, we can speak of quite a strengthened scenario. The viola caipira has definitely been established as an important instrument in Brazilian music and the breadth of its use is easily verified - from the lundus of the of viola players to the compositions for viola and symphony orchestra.

Contrary to the predictions made by classical modernization theory that ethnic traditions and religion would die out, they have proved to be surprisingly resilient throughout the world. In contemporary times various revitalization movements have been on the rise and from Africa to Asia scholars have been debating what seems to be a growing attention to tradition and culture. This thesis, based on empirical material from a minor field study in Vanuatu, will elaborate upon revivalist tendencies in a small island country. The purpose of the thesis is to examine expressions of revival of tradition, their causes and their possible implications for the country and its inhabitants. Modernization theory and the contesting paradigm of Alternative development create the foundation of the work while Globalization and the notion of Neotraditionalism are used as further theoretical points of reference. The thesis main findings are that tradition is used as a political strategy in Vanuatu and that a present neotraditional ideology offers both opportunities and pitfalls to the future development of the country. Based on the understanding gained from the field study, the message of this thesis lies in the importance of keeping an open mind when discussing development.

Pour saisir ce qui fut et demeure en question dans la vie liturgique au Togo, nous avons pris appui sur le concept fondamental de participation. Le renouveau liturgique a été déclenché au Togo dès la fin du dix-neuvième siècle, marqué par un foisonnement créatif visant au rapprochement de la nef et du chœur ainsi que par la recherche de souplesse dans le culte, sous l’impulsion des missionnaires successifs, aidés des pasteurs locaux. Les traductions en langue vernaculaire, la construction d’espaces liturgiques en harmonie avec la foi sont constitutifs de ce mouvement. Au lendemain du Concile, cet effort s’est poursuivi par la mise en application progressive des directives magistérielles. Dès lors, les acteurs de la liturgie se mobilisent davantage et de façon décomplexée pour une adaptation plus large des rites aux situations et mentalités locales, par un retour au réel, c’est-à-dire aux fondamentaux anthropologiques qui traduisent l’ « authenticité ». Si l’on ne voit pas l’inculturation comme un soutien de la participation effective, l’idéal risque d’être biaisé. Adaptation, inculturation, participation, tel est le triptyque qu’il faut pour desserrer l’étau qui limitait durablement l’expression de l’identité culturelle. Sa mise en œuvre nécessite un investissement profond. / To grasp what was and remains a question in the liturgical life in Togo, we firmly rely on the fundamental concept of participation. The liturgical renewal was initiated in Togo since the late nineteenth century, marked by a creative explosion aiming to reconcile the nave and the choir, as well as looking for flexibility in worship, under the direction of the successive missionaries, helped by local pastors. Translations into local languages, building churches in harmony with faith are constitutive of this movement. In the wake of the Council, this effort has continued with the gradual implementation of the magisterial guidelines. Therefore, the actors of the liturgy are more mobilized in an uninhibited way for a wider adaptation of rites to local situations and mentalities with a return to the reality, that is to say, the fundamental anthropological reflecting « authenticity ». If one does not see inculturation as a support to an effective participation, the ideal may be biased. Adaptation, inculturation, participation, such is the triptych necessary to loosen the grip that permanently restricted the expression of cultural identity. It’s implementation requires a deep investment.