Magister Educationis - MEd / This thesis is concerned with discussing music education as an aspect of aesthetic education, with special reference to the general music (Class music) curriculum at the secondary schools. Class music, or general music education, is being neglected at secondary schools in South Africa. A strong need for reform is necessary to revitalize the neglected state of class music in schools. Chapter One explains and discusses what is meant by the concept of aesthetic education and its relationship with the arts and especially music education. Chapter Two critically analyses and discusses music as aesthetic education as laid down by Charles Leonhard and Robert House. The soundness of their view comes under severe scrutiny, by the highlighting of contrasting viewpoints. Present criteria operant in music education are critically viewed and the soundness of these criteria as theory are evaluated. Chapter Three discusses Popular music and Classical music in aesthetic education. While the merits of these types of music are of importance, they culminate in a view which propagates the peaceful coexistence of both Popular and Classical music as an aim in aesthetic education. Chapter Four is a critical discussion of the general music education curricula in South Africa. This discussion is based mainly on the C LAS P - model, that is , Composition, Literature, Audition, Skills, and Performance. Chapter Five makes some recommendations towards a music curriculum for the general school music curriculum, based on the C.L.A.S.P - model, and aesthetic principles.

The objective of this study is to develop a market sentiment model for financial markets using machine learning, and to illustrate these methods using commodity price data. A market sentiment model may capture the fundamental and crowd psychology of the market, through a variable that uses positive and negative words and phrases. The commodity price used is the daily price of the spot crude oil exchange-traded fund (ETF), United States Oil Fund (USO). The forecasting power of the market sentiment model is compared with a traditional autoregressive model. The results showed that the autoregressive models did not have significant forecasting power for the oil data over the time period examined and the addition of the sentiment model did not improve the forecasting power. Machine learning is a relatively new forecasting method. Therefore, further research on this topic is needed before any firm conclusions can be drawn regarding the effectiveness of this approach. / February 2017

“Liminal Spaces and The Disabled Body” explores Edmund Burke’s aesthetic paradigms as established in his An Enquiry into the Origin of Our Notions of the Sublime and the Beautiful to recover what disability meant for an eighteenth-century audience. I examine Burney’s Camilla and Eugenia’s disability as well as Dacre’s Zofloya and Victoria’s figurative hermaphroditism in terms of eighteenth-century views of deformity and physiognomy to argue that both Eugenia’s and Victoria’s deformities—Eugenia’s smallpox scars and injured leg and Victoria’s beautiful but too boldly delineated features—challenge the prevailing structures of aesthetics and expectations of feminine beauty. My thesis questions how eighteenth-century aesthetic theory constructs the modern concept of the “disabled” individual to argue that the female body with a disability or deformity surpasses the terms of submission and diminution instated by Burkean aesthetics. In turn, the disabled female gains purchase in literature due to her “liminal, between-categories status” as it strains masculine power structures and aesthetic and gender classification systems.

At the turn of the twentieth century, City Beautiful principles manifested themselves in the historic core of New Orleans: the Vieux Carre. City and state officials determined that the Cabildo and Presbytere were no longer suitable sites for the Louisiana Supreme Courts, and set about erecting a monumental, Beaux Arts-style courthouse amid the dense, vernacular built environment of the French Quarter. Two hundred fifty-one individuals were displaced as a result of the expropriation and demolition of forty-one structures occupying the square bounded Royal, Chartres, Conti and St. Louis streets. While significant scholarly research has interpreted the motives and visions of Progressive-era urban reformers, few studies have addressed issues of power in shaping these narratives and in silencing the past. Through its analysis of the planning processes surrounding the Louisiana Supreme Court Building, this thesis acknowledges these silences and raises questions about those most impacted: the displaced.

L’objectif de cette recherche est d’examiner la relation entre l’estime de soi et la réussite scolaire selon la beauté, la culture et le sexe de collégiennes et collégiens. L’estime de soi générale a une influence notable dans certains domaines (échec et réussite, situation familiale, etc.). Notre recherche vise à étudier le lien entre l’estime de soi, la beauté physique comme morale et la réussite scolaire des collégiens en France. L’estime de soi et la réussite scolaire ont été mesurées chez les élèves de deux groupes de collégiens (le groupe A, dans lequel, les élèves répondent aux critères qui contribuent à définir le caractère de la beauté dans la liste établit par nous et le groupe B dans lequel, les élèves ne répondent pas à ces critères). 120 collégiens en troisième et quatrième ont participé à la recherche qui a pour objectif de connaître l’effet de la beauté physique et morale sur l’estime de soi et la réussite scolaire. Les résultats de cette recherche révèlent des différences dans l’estime de soi générale entre des élèves des deux groupes A et B. Ainsi, l’hypothèse que la beauté physique est un des domaines de perception de soi parmi les plus fortement reliés à l’estime de soi générale des élèves a été complètement confirmée. [etc.] / The purpose of this research is to examine the relationships between self-esteem and success at school according to the beauty, the culture and gender of schoolgirls and schoolboys. The general self-esteem has a notable impact on some areas (failure and success, family situation, etc...). Our research aims to study the link between self-esteem, physical as a moral beauty and school success of college students in France. Self-esteem and academic success were measured among the students of two groups of college students (group A, in which the students satisfy the criteria which contribute to identify the character of the beauty of the list set by us and group B in which the students do not meet these criteria). 120 students in the preparatory stage in 8th and 9th grades have participated in the research that has a purpose to know the effect of the physical and moral beauty on the self-esteem and the academic success. The results of this study show differences in general self-esteem between students of both groups A and B. As well, the hypothesis that physical beauty is one of the areas of self perception which is most strongly linked to the general self-esteem of students has been fully affirmed. [etc.]

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-11-16T17:05:38Z No. of bitstreams: 1 Danton Guilherme Oestreich_.pdf: 658443 bytes, checksum: d5f5339cace57449e1ae2d5125e7c3d7 (MD5) / Made available in DSpace on 2016-11-16T17:05:38Z (GMT). No. of bitstreams: 1 Danton Guilherme Oestreich_.pdf: 658443 bytes, checksum: d5f5339cace57449e1ae2d5125e7c3d7 (MD5) Previous issue date: 2016-08-30 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Gadamer desenvolve sua ontologia da obra de arte recorrendo ao conceito de jogo para expressar o modo de ser obra da arte, salientando a importância de libertar o conceito do significado subjetivo que, desde a estética de Kant, prevaleceu para a abordagem da arte bela. A julgar pela natureza hermenêutica da sua investigação, ele parece ter em vista a intenção de contrapor a necessidade de uma mediação histórica do conteúdo da arte diante da noção estética que privilegia a simples distinção formal da arte. De fato, isto sugere um confronto com a noção de jogo livre das faculdades da imaginação e do entendimento de Kant que se refere ao estado ideal do ânimo quando este está inclinado a reconhecer algo como belo e que é autônomo de questões de conteúdo na perspectiva de uma distinção formal. Além disso, para Kant, no caso das obras de arte, a possibilidade de ajuizamento da beleza seria mediada pelo conceito de forma da arte em questão, onde a música acaba sendo definida como o “belo jogo das sensações do ouvido”. Cabe perceber, desta forma, que na música encontramos uma confluência das dimensões estética, hermenêutica e formal através do mesmo conceito de jogo, o que permite considerar a leitura gadameriana do juízo estético sob as peculiaridades da arte musical. Assim, o propósito deste estudo é averiguar a tensão existente entre uma consideração do belo musical enquanto dependente de uma autonomia estética ou enquanto dotado de questões de conteúdo para o qual a forma tem que ser referente. Esta situação problema será apresentada a partir da forma musical de um exemplo específico – a saber: o final da primeira sonata Royal Winter Music de Hans Werner Henze – para mostrar como aspectos da teoria kantiana e gadameriana podem ser significativos para a compreensão da experiência musical. / Gadamer develops its ontology of the artwork using the play concept to express the mode of being of the work of art, stressing the importance of freeing the concept from the subjective meaning that, since Kant's aesthetics, prevailed in the approach the beautiful art. Judging by the hermeneutic nature of his research, he seems to have in mind the intention of counteracting the need for a art content's historical mediation on the aesthetic notion that favors simple formal distinction of art. In fact, this suggests a confrontation with Kant's notion of free play of the faculties of imagination and understanding, referred to the ideal state of mind when it is inclined to recognize something as beautiful and autonomous from content issues in a perspective of formal distinction. Moreover, for Kant, in the case of works of art, the possibility of beauty judgment would be mediated by the concept of art form in question, where the music ends up being defined as the "beautiful play of ear sensations”. In this way, it should be noted that in music we find a confluence of aesthetic, hermeneutics and formal's dimensions through the same play concept, what allowing the consideration of Gadamer's reading of aesthetic judgment under the peculiarities of musical art. Thus, the purpose of this study is to ascertain the tension between a consideration of the musical beautiful as dependent on an aesthetic autonomy or as endowed with content issues for which the musical form has to be related. This problem situation is presented from the musical form of a specific example – namely: the end of the Hans Werner Henze's Royal Winter Music first sonata – to show how aspects of the theories of Kant and Gadamer can be significant for understanding the musical experience.

Entre 1897 et 1945, un grand nombre de cartes postales de Montréal ont été produites. Nous avons abordé ces cartes postales en cherchant à connaître le contenu des transmissions que le média a opérées. Quelles informations la carte postale illustrée de Montréal a-t-elle diffusées et quels projets pour la ville a-t-elle créés? L'analyse iconographique et stylistique que nous avons menée a montré que les cartes postales du début du XXe siècle sont marquées par les idées de la City Beautiful, par le thème de la métropole, et par une modernité oscillant entre le progrès technique et ses attributs, et le progrès social du paysage ecclésial. Peu de travaux ont abordé la signification des images de la ville relativement au paysage construit. C'est dans cet espace que la recherche commandée par notre thèse se positionne et apporte sa contribution. L'hypothèse qui guide la recherche est la suivante: la carte postale illustrée de Montréal, produite avant 1945, énonce un projet de ville qui, reçu dans la sphère de l'imaginaire collectif, influence les réalisations dans le paysage construit. Notre thèse est composée de deux parties qui explorent les projets de ville que les cartes postales formulent par leurs représentations. La première partie explore les cartes postales de Montréal qui ont mis en valeur les principes de l'idéologie de la City Beautiful et diffusé cet idéal urbain. Nous cherchons à savoir en quoi la carte postale a magnifié la City Beautiful, pour la devancer ou pour l'annoncer. La seconde partie de notre thèse, fait porter l'analyse sur la valorisation du progrès. Nous nous sommes penchée sur les représentations de la modernité dans les cartes postales et sur celle de la métropole. Les cartes postales de la modernité sont étudiées, au troisième chapitre, en fonction des attributs que sont les ponts, les moyens de transport urbain, les industries, les manufactures et le port. Le thème de la représentation de la métropole dans les cartes postales est analysé au quatrième chapitre. Les instruments de la valorisation c'est-à-dire les sommets des édifices et la lumière qui servent la représentation de la métropole sont au coeur de l'analyse. Enfin, le cinquième chapitre explore la modernité du paysage ecclésial. La densification de ce paysage est examinée en fonction des représentations qui ont requis les églises, d'une part, et les événements religieux d'autre part. L'oratoire Saint-Joseph y a aussi pris part. Cette recherche tente de caractériser le rapport entre la carte postale et le projet de ville. En outre, elle vise à renouveler le regard sur Montréal par la mise en rapport de son histoire de l'art et du développement de son paysage construit. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : 1897-1945, Carte postale, Représentation, Image, Média, Projet, Imaginaire collectif, Paysage construit, Cadre bâti, Urbain, Ville, Métropole, City Beautiful, Modernité, Progrès, Église, Histoire de l'art, Histoire de l'architecture, Histoire de la forme urbaine, Poste, Montréal, Québec (Province), Canada.

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In 1946, House Beautiful's editor-in-chief Elizabeth Gordon launched the Pace Setter House Program, an annual series of exhibition houses that proposed a new modern architecture for postwar America. Set in direct opposition to Arts & Architecture's Case Study Houses, the Pace Setter houses criticized orthodox modernism, and offered a "livable" and distinctly American alternative. Organic design, particularly the work of Frank Lloyd Wright, further informed this new concept of American modernism, adding a rich layer of humanism, naturalism, and democratic idealism. Rejecting the Case Study prototype of universal solutions and prefabrication, the Pace Setter houses advocated a solution in which the craft of building guaranteed regional variation, artistic quality and individual expression. House Beautiful's Pace Setter Program, with its implicit organic roots, underscored one of the most charged architectural debates of the postwar period: the renewed tension between the specific and the general, the regional and the international, the individual and the collective. With the establishment of the Pace Setter House Program, Gordon developed a mature paradigm for the postwar house -- and simultaneously created a dynamic public forum for architectural debate. With the Pace Setters as counterpoint, she lashed out against the architectural current to attack what she viewed as the greatest threat to American design: the unlivable, autocratic, and foreign modernism of the International Style. Gordon's role in the larger architectural debate was critical, not only in her vociferous opposition to what she viewed as a blind continuation of an oppressive modernist lineage, but in her stalwart support of alternative design tropes. The Pace Setter Houses and their architects -- ranging from Cliff May to Alfred Browning Parker to Harwell Harris -- represented one battlefield in the aesthetic and philosophical struggle between the emerging modernisms of the postwar period. Accompanied by Gordon's insistent voice and publications, the Pace Setters became ammunition in an architectural revolution that, for House Beautiful, lasted nearly twenty years. The Pace Setters chronicled the emergence of a vital strand of American modernism, and provided a lens through which to view the ultimate integration and acceptance of modernism within the mainstream of middle-class America.

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