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Author's name: Bc. Zuzana Biľová School: Charles University, Prague Ústav pro dějiny umění Celetná 20, 110 00 Praha 1 Program: Masters program Title: Institutional acceptance of concept art across Europe Consultant: PhDr. Márie Klimešová, Ph.D. Number of pages: 96 + appendix Number of attachments: 4 Year: 2011 Key words: conceptual art, Harald Szeemann, Documenta 5, When attitudes become form, conceptual art in former CSSR This thesis refers to the problems that arise from the definition of conceptual art and the sole development of this term. Through two main exhibitions that were in the beginning and in the end of the conceptual art, I am trying to look closer at the institutional acceptance of this movement in Europe. I have reconstructed a complex description of the preparation, evolution and the process of the so-called exhibition "When attitudes become form", that is seen as the first conceptual art display on the European continent. The exhibition was held in Bern in 1969 and it had served as a main concept for its curator, Harald Szeemann, for the organization of international exhibition called "Documenty 5" that confirmed the domination of conceptual art but marked the beginning of its ideological downturn. My work closely analyses this second project, however, it mostly deals with the...

This dissertation explores a family of temporal meanings pertaining to when, as it appears in When the results were negligible, Galdwin asked why; when she was 50, she left him; and Lowe took a 3-1 lead into the 5th when he finally surrendered his first home run of the season. A widely-accepted view is that when used this way functions as a generalpurpose temporal connective, with underspecified semantics reminiscent to after, during or before, which vary depending on the surrounding context. I propose a heavy revision of this particular claim; surrounding contexts do not by themselves determine the temporal interpretation of when, but they function to strengthen the basic meaning already imposed by grammatical features and lexical constraints. The present system provides accounts for several empirical problems related to corpus-based examples which are inconsistent with previous approaches to the semantics of when. A further characteristic of the present study is its cross-linguistic nature. I extend the analysis of when to toki(-ni), the Japanese counterpart to when. Comparing English and Japanese, I argue that the two languages share the fundamental semantic system but employ different sets of triggering factors for the strengthening process. Supporting evidence for my arguments comes from two manuallyculled newstext corpora prepared for this study. Chapter 1 gives an introduction to the phenomena and issues of interest. I address three distinct temporal relations holding between the when- and main clause events. Forward-sequence entails that the when- clause event occurs earlier than the main, as in when the results were negligible, Galdwin asked why. Overlap consists of two clauses that denote overlapping events, as in when she was 50, she left him. Backward-sequence entails that the when- clause event takes place after the main clause event, as in Lowe took a 3-1 lead into the fifth when he finally surrendered his first home run of the season. Discussions in later chapters assume some familiarity to temporal and discourse semantics literature. Chapter 2 has been devoted to providing such background information, including an introduction to Discourse Representation Theory (Kamp and Reyle (1993)) and Two-Component Aspect Theory (Smith (1993, 1997)). For visual presentation of my ideas, I adopt Blackburn & Bos’ (2000) DRS-building scheme. In Chapter 3 I sketch previous analyses on when- sentences and address their empirical problems. I discuss two streams of approaches. Under one view, when commits to placing two eventualities temporally close to each other, without fixing their relative order (Heinëmäki (1978), Ritchie (1979) and Hinrichs (1986)). An implication of this type of proposal is that whenever a when appears, there is little restriction as to which one of the temporal meanings is chosen. Thus, for these authors when is a general-purpose temporal adverbial used without a specific temporal meaning built into it. Alternatively, scholars such as Moens and Steedman (1989) and Sändström (1993) argue that when does not order events temporally; it only adds an implication concerning event consequentiality, namely that the main clause event is a consequence of the when clause event. A major problem common to both approaches is empirical. The former entails that when is vague as to its temporal implications, when in actuality a given when sentence is usually associated with only one of the temporal meanings. The latter approach, on the other hand, is misleading in giving the impression that all when sentences bear a consequential relation: corpus examples in the present study reveal that it is not true. Chapter 4 presents English corpus data collected for this study and an analysis of when- sentences that avoids the problems surrounding the previous approaches, with emphasis on the claim that pragmatic information is fully responsible for rendering the temporal meanings associated with when. I examine this proposal critically and arrive at a hybrid system where grammatical and pragmatic or extra-linguistic informational contents work in tandem. I also discuss DRT construction rules for when and demonstrate my system for some key examples drawn from the corpus. Chapter 5 turns to a cross-linguistic consideration, focusing on Japanese. After reviewing the literature on Japanese toki-ni (“when” lit. time-at) sentences, such as that authored by Yoshimoto and Mori (2003), I discuss Japanese corpus data and argue for one salient difference between the systems in the two languages: the strengthening processes in English tend to allude to pragmatic and extra-linguistic information while those in Japanese are more directly affected by grammatical factors such as tense marking variations and particle-drop. Chapter 6 concludes the study. I mention some remaining issues, for the purpose of suggesting some future avenues of research which the achievement of this study opens up. Two appendices are included at the end of this dissertation. One explains technical details regarding the corpora used in this study. The other is a summary of miscellaneous numerical results I have obtained while I worked on the project. / text

Thesis (M.S.) -- University of Tennessee, Knoxville, 2006. / Title from title page screen (viewed on Sept. 25, 2006). Thesis advisor: Richard J. Strange. Vita. Includes bibliographical references.

Doctor of Philosophy / Department of Industrial & Manufacturing Systems Engineering / Malgorzata J. Rys / This dissertation is the result of studying different methods of increasing guide sign visibility and legibility to drivers during nighttime, to increase safety on roadways. It also studies intersection lighting to indicate the lighting benefits on nighttime crash frequency reduction. From a survey conducted, practices related to overhead guide sign illumination and retroreflectivity in United States were summarized. A laboratory experiment was conducted to compare light distribution of five light sources: Metal Halide, Mercury Vapor, High Pressure Sodium, induction lighting, and Light Emitting Diode (LED). Cost analysis of the five light sources was performed. Combining results of the laboratory experiment and the cost analysis, induction lighting was recommended for states that want to continue external sign illumination. A retroreflectivity experiment was conducted to compare three types of retroreflective sheeting: Engineering Grade (type I), Diamond Grade (type XI), and High Intensity (type IV), to determine the sheeting that best increases visibility and legibility. Diamond Grade (type XI) was found to be the optimal sheeting that increases visibility and legibility to drivers during nighttime. A glare experiment was conducted to expand the retroreflectivity experiment results. Four sheeting-font combinations of High Intensity (type IV) and Diamond Grade (type XI) materials and Series E (Modified) and Clearview fonts were compared. Results revealed an optimal sheeting-font combination of Diamond Grade (type XI) sheeting and Clearview font which increases the visibility and legibility of guide signs to drivers under presence of oncoming glare source. The Highway Safety Information System (HSIS) database was used to study the effect of intersection lighting on the expected crash frequency. Illuminated intersections showed 3.61% and 6.54% decrease in the expected nighttime crash frequency as compared to dark intersections in Minnesota and California, respectively. In addition, partial lighting at intersections decreases the expected nighttime crash frequency by 4.72% compared to continuous lighting in Minnesota. The recommended sheeting-font combination for Departments of Transportation was Diamond Grade (type XI) and Clearview. This combination will increase signs’ visibility and legibility to drivers, and consequently increase safety on roadways. Adding partial lighting at intersections will reduce the expected nighttime crash frequency, and increase safety on roadways.

This study probes selected stories from Bessie Head's The Collector of Treasures (1977) in order to elicit instances of contiguity and disjuncture between orality and literacy, to establish Head's complex identity configurations which are often manifested in the interactions between aesthetic form and content, authorial consciousness, character delineation, and narrative voice. At the same time, the dissertation explores her portrayal of the proscribed condition of women, the subversive consciousness that undercuts women's subjugation by patriarchy, and her vision for the liberatory possibilities for women from the exigencies of patriarchal domination. I also examine Head's (re-)vision of culture within the framework of hybridity and creolity and determine how some of these perspectives are crystallized in discourses such as When Rain Clouds Gather (1968), Maru (1971) and A Question of Power (1973). I juxtapose my reading of Head with other African writers such as Bâ, Emecheta and Nwapa to draw references in instances where the context permits. The dominant critical approach adopted in this thesis is a contextual approach. I consider this approach useful for my purposes because of its flexibility, the attention it pays to the formal properties of literary texts and, its cognizance of the socio-historical genesis of texts and its demonstration of literature's timeless value. / English Studies / M.A. (English)

The thesis aims to give an overview of the treatment of media in texts that have formed modern dystopian writing and to which new additions in the genre necessarily relate. This set of texts consists of George Orwell's Nineteen Eighty-Four, Aldous Huxley's Brave New World and When the Sleeper Awakes by H. G. Wells; first chapter substantiates this selection and proceeds to define the concepts of "media" and "dystopia". Second chapter is concerned with the understanding of history in dystopian societies and shows that the very concept of historicity is undesirable for a totalitarian state, which seeks to blur history and reduce it to a three-point schema "before the Event - the Event (revolution) - after the Event". Closer analysis then shows that the Event itself can be divided into a further triad that has to be completed in order to pass into eternal post-Event society. Third chapter describes the use of citizens as media and shows that while Huxley's society uses what Michel Foucault calls "biopower" to achieve this goal, Orwell's society rather uses the concept of "discipline". Fourth chapter turns to printed media a the privileged role they are ascribed in the novels: The authors see literature as an embodiment of individuality and, at the same time, as a guarantee of tradition established by an...

A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts in African Languages. Wits University, Johannesburg, 2015 / This report interrogates the representation of blackness in post-1994 black-centred films in South Africa. With a particular focus on Khalo Matabane’s films, I analyse Conversations on a Sunday Afternoon (2005), When We Were Black (2007) and State of Violence (2011) across a spectrum of themes. I also interrogate and introduce several critical concepts such as ‘blackness’, ‘the image of blackness’, ‘black identity’, ‘masculinity’, ‘femininity’, ‘the Gaze’ and ‘Otherness’. These concepts are interlinked in ways that bring about an understanding of the concept of black-centred films, which is central to the research report. Amidst the different interpretations of black-centred films, the vantage point from which the concept is used is interested in black-centred films as films that are made by a black filmmaker, whose content addresses issues of blackness and is targeted at a black audience. However, these three factors need not always resonate in a single film in order for it to be considered and analysed as a black-centred film. The lens through which Matabane holds the camera questions his representation of the black image and whether it is from an insider or outsider’s perspective. The view from which Matabane holds the camera is important in establishing whether he has purported to represent historically stereotypical images of blackness, or whether his endeavours in filmmaking are occupied by the relentless pursuit to present new images of blackness.

Made available in DSpace on 2016-04-26T20:27:10Z (GMT). No. of bitstreams: 1 sergio.pdf: 998078 bytes, checksum: b0b30a5fca7c959a029391b52b1da046 (MD5) Previous issue date: 2005-05-23 / Pontificia Universidade de São Paulo / This work aimed at bringing together two seminal aspects regarding the defense of personal rights (i) the responsability of the mass media and (ii) the adoption of speedy judicial action when illegal behaivor by the media has been verified. / Aplicação da tutela do artigo 461 na defesa dos direitos da personalidade e responsabilidade dos meios de comunicação formas de reparação critérios para concessão da tutela antecipada

The thesis examines the evolving realtions of the aesthetic and conceptual aspects in exhibition-making after the 'conceptual turn' that took place in the late-1960s and instigated key transformations in the aesthetic condition of art and contemporary curatorial practice. Drawing on a broadly construed and variously manifested conceptualism pervading the growing field of curating since 1990s, the thesis focuses on investigating the relation between the aestheti and conceptual dimensions of three exhibitions that have had a significant impact on the postconceptual development of curating. In doing so, it aims to construct an alternative genealogy that reaffirms the significance of the aesthetic element, and so to reconstruct curatorial practice from the perspective of an Aesthetics of Curating. This trajectory unfolds a non-unitary Curatorial Aesthetics that emerges and develops together with the conceptual shift offering a revisionist perspective to dominant practices and discourses today that tend to devalue or repress aesthetic modes of production. The driving force of the thesis is neither to affirm aestheticism nor simply reversing the received positions. Instead, the investigation of aesthetics - as the poetics of an exhibition and a philosophical understanding of the experience offered - provides a reading that contests the emphasis placed upon conceptualism in order to revise those relations and established assumptions, and enable us to understand contemporary aspects of curating that have been downgraded. The thesis focuses on three case-studies, which mark important shifts in the conceptual development of curating from 1969 to 2007: When Attitudes Become Form: Works-Processes-Concepts-Situations-Information (Live in Your Head), curated by Harald Szeemann. Kunsthalle Bern (1969); Les Immateriaux, co-curated by Jean-Francois Lotard and Thierry Chaput, Centre George Pompidou, Paris (1985); Documenta 12, under the artistic directorship of Roger Buergel and chief curatorship of Ruth Noack, Kassel (2007). By exploring the different ways in which these exhibitions accommodate, engage with, and define aesthetic experience in relation to their conceptual modes, the study provides an alternative account of Curatorial Aesthetics that attains its transformative potential and political efficacy in the present through the invention of new sensations that incite new modes of thinking and acting.