Includes bibliographical references (leaves 206-210) / v, 210 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, School of Humanities, Discipline of English, 2004

This dissertation examines how a group of street vendors in Yogyakarta City, Indonesia, experienced a government-organized relocation from Mangkubumi Street to a newly renovated marketplace. In particular, I explore the strategies taken by the leaders of a street vendor organization called Pethikbumi to refuse the relocation and claim their right to the street. Contestations over streets, street vending and street vendor relocations constitute important moments during which citizenship, democracy and belonging are negotiated in the city. I argue that the conflict over belonging and democracy took the form of a social drama and was shaped and structured by specific moral appeals, public performances, and processes of imitation (cf. Turner 1974). The study begins with an exploration of the history of street vending and the pedagang kaki lima (street vendor) in Indonesia. I outline how the pedagang kaki lima were viewed as “dirty”, a simplified code for the transgression of social, spatial and legal boundaries. I move on to explore the way the street vendors of Pethikbumi drew on ideas of “the people” (rakyat), democracy and transparency in claiming their rights. I analyze the ways that Pethikbumi drew on important moments in Indonesia’s past and present, situating this relocation conflict as significant and as part of “history”. The relocation was also rooted in an epistemology of “skepticism” derived from an awareness of the ambiguity and tension between appearances and realities (cf. Anderson 1990). Pethikbumi engaged in tactics to both reveal and conceal the “unseen powers” that were imagined as working behind the scenes to generate conflict. The conflict over the relocation to a marketplace was not only a fight over who had access to the street but also a struggle over what constitutes democracy, how to achieve transparency, and who belongs in post-Suharto Indonesia.

This research examines the significance of water as it has been used as a subject in the visual arts, with particular concentration on the use of geometry as a means of accessing pictorial possibilities. The study focuses specifically on selected paintings by Joseph Mallord William Turner (1775-1851), Oscar Claude Monet (1840-1926) and Pat Steir (1940-) including some of Steir's etchings, to further demonstrate her thought processes and techniques. It is argued that the paintings of all three artists, although widely divergent yet include threads of commonality and convergence. All explore the fundamental structure of nature (in this case water) through geometry. In addition, spatial concepts through the use of light and colour are closely intertwined and give rise to metaphysical implications. Turner and Monet broke the bonds of the existing academic composition and style of painting. Their paintings pointed the way for artists of the twentieth century, like Steir to further explore the close relationship between the motif and abstract painting. References to paintings, other than the selected paintings, by these artists will be made in order to illustrate their different approaches yet similar objectives. Finally the relevance of the study to the candidate's own work will be correlated. The dissertation intends to offer a new interpretation of water as a subject in painting, by illuminating and illustrating aspects of the selected paintings by Turner, Monet and Steir. In conclusion, it is anticipated that this discourse will enrich and complement previous interpretations of water, when used as a subject in visual art. It is also envisaged that the study will suggest further research on the subject. / Thesis (M.A.)-University of Kwazulu-Natal, Pietermaritzburg, 2004.

Since the first Scottish Gaelic-speaking settlers arrived in Nova Scotia in the late 18th century, their Gaelic singing tradition has been an integral part of life in communities on Cape Breton Island. With the waning of the Gaelic language, however, came efforts to collect and preserve the song tradition, and the intention to pass it along intact. This dissertation eschews the consideration of Gaelic singing as a monolithic tradition with a common repertoire and experience, and instead examines it as a multifaceted process enacted by individuals in three main sites: home, public performance and the archive. It examines the various ways the practice manifests itself, concluding that memory and individual agency are constants, both for singers and listeners. Through interviews, participant-observer activity and archival research, this study demonstrates that Gaelic singers have been far from passive culture-bearers but have instead actively shaped their song practice by choosing repertoire, melody variants and texts. It also discusses the dynamic role of memory and social interaction in the transmission and performance of Gaelic song. Memories of other singers, discussion of the text, and contextual details draw singers and listeners into a community that is both synchronic and diachronic. This practice is chiefly oral, but is supported by recordings and printed songbooks as well as an array of objects – photo albums, clippings, tapes – which evoke the sense of previous performances and their singers. Despite their intention to transmit the songs with little or no change, singers have a flexible relationship with the material and in some cases subvert the authority of recorded or printed sources by turning instead to first-hand experiences. This simultaneous presence of past and present has tremendous implications for what it means to know a song, and one comes to understand it as a composite of multiple memories, performances and meanings.

Since the first Scottish Gaelic-speaking settlers arrived in Nova Scotia in the late 18th century, their Gaelic singing tradition has been an integral part of life in communities on Cape Breton Island. With the waning of the Gaelic language, however, came efforts to collect and preserve the song tradition, and the intention to pass it along intact. This dissertation eschews the consideration of Gaelic singing as a monolithic tradition with a common repertoire and experience, and instead examines it as a multifaceted process enacted by individuals in three main sites: home, public performance and the archive. It examines the various ways the practice manifests itself, concluding that memory and individual agency are constants, both for singers and listeners. Through interviews, participant-observer activity and archival research, this study demonstrates that Gaelic singers have been far from passive culture-bearers but have instead actively shaped their song practice by choosing repertoire, melody variants and texts. It also discusses the dynamic role of memory and social interaction in the transmission and performance of Gaelic song. Memories of other singers, discussion of the text, and contextual details draw singers and listeners into a community that is both synchronic and diachronic. This practice is chiefly oral, but is supported by recordings and printed songbooks as well as an array of objects – photo albums, clippings, tapes – which evoke the sense of previous performances and their singers. Despite their intention to transmit the songs with little or no change, singers have a flexible relationship with the material and in some cases subvert the authority of recorded or printed sources by turning instead to first-hand experiences. This simultaneous presence of past and present has tremendous implications for what it means to know a song, and one comes to understand it as a composite of multiple memories, performances and meanings.

Buddhist prison outreach is a relatively recent development, in the United States of America and elsewhere, and has yet to be chronicled satisfactorily. This thesis traces the physical, legal and social environment in which such activities take place and describes the history of Buddhist prison outreach in the USA from its earliest indications in the 1960s to the present day. The mechanics of Buddhist prison outreach are also examined. Motivations for participating in Buddhist prison outreach are discussed, including Buddhist textual supports, role models and personal benefits. This paper then proposes that volunteers active in this area are members of a liminal communitas as per Victor Turner and benefit from ‘non-player’ status, as defined by Ashis Nandy. The experiences of the inmates themselves is beyond the scope of this thesis. / Religious Studies and Arabic / M.A. (Religious Studies)

Submitted by Rosa Assis (rosa_assis@yahoo.com.br) on 2018-11-23T17:31:32Z No. of bitstreams: 2 Breno Eitel..pdf: 38066132 bytes, checksum: 73cfc94d7a9bad7e6eefdf2714ee4b93 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Giovanna Brasil (1154060@mackenzie.br) on 2018-11-23T18:29:26Z (GMT) No. of bitstreams: 2 Breno Eitel..pdf: 38066132 bytes, checksum: 73cfc94d7a9bad7e6eefdf2714ee4b93 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-11-23T18:29:26Z (GMT). No. of bitstreams: 2 Breno Eitel..pdf: 38066132 bytes, checksum: 73cfc94d7a9bad7e6eefdf2714ee4b93 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-05-07 / Fundo Mackenzie de Pesquisa / The purpose of this paper is to understand the formation, professional performance and ideology of urban planner John F. Turner and to elucidate the direct and indirect contribution of the urban planner to the formulation of low cost housing policies, programs and projects during the 1970s in São Paulo. In order to do so, a cross-section is made in the history of the urban planner Turner, object of this research, from the period of his academic formation to the consultancy given to the municipality of São Paulo in the project conducted by the IPT, Habitat Guidelines (1977). When analyzing the path of an ideology in the formulation of public policies, we intend to demonstrate the reference of urban planner Turner in the science of urbanism in São Paulo. Therefore, as a cut, the research focuses on the formation, professional performance and consulting of urban planner John F. C. Turner in São Paulo (1977). I consider this work the introduction to a field of research on the rise, which would be the participation of the beneficiaries in projects of urbanization of favelas and housing projects. / O presente trabalho tem por objetivo compreender a formação, atuação profissional e ideário do urbanista John F.C. Turner, e elucidar a contribuição direta e indireta do urbanista para a formulação de políticas, programas e projetos de habitação de baixo custo durante a década de 1970 com foco em São Paulo. Para tanto, faz-se um corte transversal na história do urbanista Turner, objeto desta pesquisa, do período de sua formação acadêmica até a consultoria prestada para o município de São Paulo no projeto conduzido pelo IPT, Diretrizes Habitacionais (1977). Ao analisar o caminho de um ideário na formulação de políticas públicas, pretende-se demonstrar a referência do urbanista Turner na ciência do urbanismo paulista. Portanto, como recorte, a pesquisa focaliza a formação, atuação profissional e consultoria do urbanista John F.C. Turner em São Paulo (1977). Considero este trabalho a introdução a um campo de pesquisa em ascensão, que seria o da participação dos beneficiários em projetos de urbanização de favelas e projetos habitacionais.

(in English): The Master thesis depicts a concept of interpersonal relationships in a novel Cecilia Valdés by the Cuban writer Cirilo Villaverde. It describes author's life and circumstances which accompanied the origin of the novel. The thesis introduces a plot of the novel, analyses the main characters and their role in the novel. It deals with a theme of the novel as a genre in general and informs about Indian and Costumbrism novel as well. It follows historic events in Cuba at the time when the novel was issued. Knowledge of the historic events is necessary for comprehension of the novel in its broader sense. The thesis examines Cecilia Valdés from the point of a concept of interpersonal relationships, deals with relationships among black people, mulattoes and white people. It analyses a relationship between the main characters which is greatly influenced by different racial origin. The topic of slavery is introduced in connection with a plot of the novel. The Master thesis compares a novel Cecila Valdés with other significant Hispano- American novels which carry similar aspects, namely with Cumandá o un drama entre salvajes by Juan León Mera and Aves sin nido by Clorinda Matto de Turner. The thesis mainly focuses on interpersonal and partner relationships in these novels which are influenced...

This thesis deals with extraction of data from cell images and their visualisation. Cell images are processed by FISH method. It discusses theory of diagnosis evaluation automation and cell features visualization. That concerns image processing, cell nuclei segmentation, feature extraction and data visualization.

The organization of eighteenth and nineteenth-century British printmaking and publishing was based on economic principles and occurred in the collaborative sphere of the engraver’s studio. Print designers, engravers, printers, and publishers formed a professional network that operated on economic principles, publishing prints that served to generate income for its participants. These ventures faced great challenges in the lengthy and laborious processes of engraving and publishing, and in financing the project for the duration of that time. This project examines the economic structure of early nineteenth-century prints. Using comprehensive accounting records, it analyzes two well-known topographical print series. The profitable Southern coast by William Bernard Cooke and George Cooke is compared to the financially unsuccessful Tour of Italy by James Hakewill, series that both were partly based on watercolors by J.M.W. Turner. A well-managed organization and a sound financial framework laid the foundation for a profitable venture. The success of print series hinged on several critical success factors, such as access to sufficient capital, strict cost containment, and optimized print editions. An examination of the conflict that ended the collaboration between Turner and the engravers Cooke, originating in Turner’s demand for higher design fees, puts the validity of the arguments of both parties in a new light. The investigation into the work practice of the engravers Cooke and the economic factors that determined the outcome of their labor contributes to a better understanding of the printmakers’ opportunities and challenges at the onset of the modern art market.