Thesis (M.A.)--University of San Carlos, March 1978. / Vita. Includes bibliographical references (leaves [110]-113).

In this dissertation, I examine Stevie Wonder's compositional style from his celebrated "classic period," (1972-1976) focusing specifically on the concentrated two-year time span from 1972-1974 marked by his unparalleled creative output that launched him into superstardom. My study operates on the premise that most melodic relationships are governed by a fundamentally pentatonic process and that harmonic relationships are largely governed by jazz-influenced tonal processes. I have transcribed dozens of examples from the time period under review in order to survey the expressive interaction between these two related but distinct systems and the resulting effect their usage has on melody and harmony. Using Schenkerian reductive analysis as my primary tool, I uncover recurring patterns that shape and shed light on his style. The final chapter of this study focuses on the ways in which Wonder's improvised melodic lines relate to the voice-leading framework of the basic melodic ideas in his performance of "I Love Every Little Thing About You" and also the ways in which his improvisation impacts forward motion in the course of this song.

A Day With The Mountain is an inquiry that ventures into the experience of self-movement through the context of freeskiing. This inquiry focuses on both my experience with three freeskiers; Leah Evans, Josh Dueck, and Mark Abma and my personal experience with freeskiing. The intention behind this inquiry is to challenge, celebrate, and evoke the self-movement experience in order to gain understandings of something so fundamental to human development. This intention is met by asking the main research question; ‘What is the experience of self-movement?’ Self-movement was fleshed out in this inquiry within a phenomenological approach. Phenomenology aims to evoke human experience through descriptive writing, which also proved to be the main challenge of this study. Stories, poetry, and images within a narrative entitled A Day With The Mountain were used to address this challenge and to invite the reader into deeply textured experiences of self-movement. A Day With The Mountain is a day of freeskiing where accumulation, threshold, breakthrough, and release make up the rhythms of the experience; these same rhythms also serve as the chapters of this text. Woven within the evocative writing of the experience of freeskiing are theoretical insights into self-movement, movement itself, of wonder. Emerging from this inquiry are ideas and questions about self-movement and movement that challenge the ground of formal physical education. I sense a potential pedagogical approach that combines movement, self-movement, and wonder as presented in this text. The emerging pedagogical approach focuses on evoking wonder, situates movement as a realm of possibility, and self-movement as possible freedom. The margins of self-movement and movement itself remain beyond the horizon of this text, and those margins are in need of more evocative description. Continuing to inquire into self-movement may reveal new possibilities and expanded understandings of self-movement, which may have significant pedagogical potential.

Orientador: Ana Luiza Silva Camarani / Banca: José Nicolau Gregorin Filho / Banca: Maria Augusta Hermengarda Wurthmann Ribeiro / Resumo: Esta Dissertação de Mestrado tem por objetivo apontar a importância e a abrangência da intertextualidade na obra Reinações de Narizinho, de Monteiro Lobato. Buscou-se esboçar os resultados de um enfoque primordialmente literário sobre a obra sem, contudo, desprezar a vocação pedagógica intrínseca da literatura infantil. Para chegar à intertextualidade, foi necessário, num primeiro momento, discorrer sobre Lobato e sobre as características da literatura infantil, bem como sobre a questão pedagógico-literária que esse gênero suscita. Depois, buscou-se colocar a forma pela qual se deu o surgimento da obra em estudo, apontando para o seu ineditismo e para a revolução que provocou, em termos literários e sócio-culturais brasileiros. Buscou-se a conceituação do maravilhoso e, a partir dela, a caracterização do maravilhoso lobatiano, entremeado com a realidade rural paulista de sua época, maravilhoso do conto artístico, de acordo com a definição de Zipes (1999, p. 18), que assume e desenvolve a narrativa em Reinações de Narizinho, assim como também se desenrola na narrativa. A utilização do maravilhoso do conto artístico é primordial para instituir e justificar a intertextualidade que traz, para dentro da obra lobatiana, desde as raízes e de grande parte do percurso da humanidade, a mitologia, a oralidade e o folclore, a filosofia, a literatura, diferentes tradições, valores e possibilidades culturais e os avanços da ciência e da tecnologia. O ciclo sucessivo que faz girar o real, o maravilhoso e o intertextual forma um amálgama que possibilita a união de tempos e espaços diversos da humanidade, reais e maravilhosos, e termina por remeter personagens e leitores de volta à realidade: à oralidade, ao livro, às histórias em quadrinhos, ao cinema e à televisão. / Abstract: The objective of this Master's Degree Dissertation is to indicate the importance and the reach of intertextuality in Reinações de Narizinho (Little Nose's Pranks), from the Brazilian writer Monteiro Lobato. We have attempted to outline the results of a mainly literary focus over the work, however without ignoring the intrinsic pedagogic vocation of Children's Literature. To reach intertextextuality it was necessary, in a first moment, to consider both Lobato and the characteristics of Children's Literature as well as the pedagogic-literary query raised by this peculiar genre of literature. Afterwords the attempt has turned into the way the literary work in study has arised, pointing to its originality and to the revolution it has caused in Brazilian literature, culture and society. We have searched, then, for the concept of wonder and, from that, for the characterization of Lobato's wonder, intermixed with his times' São Paulo's rural reality. Taking Zipes' definition of art tale (1999, p. 18), Lobato's wonder can be named wonder from art tale. This sort of wonder assumes and develops the narrative in Reinações de Narizinho, as well as it is uncoiled inside the narrative. Its use is fundamental to establish and ground intertextuality, which brings along with it, from the roots and from great part of humanity courses mithology, orality and folklore, philosophy, literature, different traditions and values, cultural possibilities and the advances of science and tecnology into the literary work. A successive cicle makes spin the real, the wonder and the intertextual and creates an amalgam which makes possible the fusion of different humanity times and spaces, real and wonder ones. It ends up by sending characters and readers back to reality: to orality, to the books, to cartoons, to the movies and to TV. / Mestre

La science-fiction a, depuis ses origines, abordé les questions spirituelles telles que la mort, la transcendance, le sens de la vie et de la condition humaine. Au lieu de se définir comme une littérature d’idées fondée sur la science, elle est bien davantage une littérature d’images qui se fonde sur une « problématisation » de notre monde. Elle construit des configurations fictionnelles qui suscitent, chez le lecteur, un étonnement fondamental, le sense of wonder. Dès lors, elle envisage des problèmes essentiels, qu’ils soient biologiques, politiques, ou spirituels. Ouvrant à un espace-temps potentiellement infini, elle peut mettre en scène des quêtes à l’échelle du cosmos, ouvrir sur l’éternité et le temps du mythe, réinterpréter les grandes traditions religieuses pour les problématiser, ou dessiner un espace du sublime dans la confrontation avec le mystère. Il s’agit de définir la science-fiction comme un genre littéraire problématologique, qui s’appuie sur des récits et des images. Ce travail examine le traitement des questions spirituelles dans la science-fiction française, anglaise et américaine, depuis le XIXe siècle. Il se réfère à une dizaine de romans et trois films. En s’appuyant sur ce corpus spécifique de romans et de films, il s’attache à établir des cadres théoriques et à identifier des œuvres qui constituent des jalons dans l’histoire de la science-fiction et qui illustrent cette perspective problématologique. / Since its origins, science fiction has addressed issues in spirituality such as death, transcendence, meaning of life, human condition. Instead of defining science fiction as based upon science, we should better define it as based upon the « problematization » of our world. It construes fictional configurations which trigger readers’ essential astonishment, and impose a sense of wonder. It tackles central problems, be it biological, political or spiritual. Opening to potentially infinite space and time, it can unfold quests on a cosmic scale, and revisit significant religious traditions to question them, or to delineate a space where sublime confronts mystery. The overall argument aims at defining science fiction as a problematological literary genre, which uses narratives and images. This dissertation applies these research orientations to French, American and English Science Fiction from the XIXth century onwards — it refers to a dozen novels and three movies. While it focuses upon this specific body of novels and films, it intends to set up theoretical schemes and to identify works which are landmarks in SF and exemplify this problematological perspective.

In the last two decades, emotion has emerged as an important theme in discussions of design. However, there is no framework to date that encompasses both emotion and information design in a single theory. This dissertation was motivated by a lack of substantive theory that would allow design researchers and educators to model the relationships among information artifacts, audiences, and designers in specific contexts. This demand for work in this area also calls for a reconsideration of the current scholarship of information design by shifting its focus from objects to people, from technical rationality to value-laden human communication, from efficiency to holistic experience and effectiveness. Through examination of existing views about information design and the nature of information, this work advances the idea that information can be better conceptualized as a medium in which designers have the ability to influence situated and value-laden human actions, as well as a medium in which designers can be influenced by situated human actions. This conceptualization of information as twoway mediation between designer and audience allows us to reconsider information design as a meaningful social activity, of which designers are an integral part. This research consists of two parts. First, it proposes a framework called Modes of Wonder that allows designers to model an audience's emotional experience in relation to information artifacts. Through examination of four thematic variations of wonder (wonder, astonishment, amazement, and sublimity), Modes of Wonder provides a meta-language that is able to model one's emotional experience in relation to information artifacts. Furthermore, it may be used by designers in the planning process when solving a design problem, and by educators as a tool for critique. Second, this research presents a Point of View framework, which allows us to describe design strategies used for creating information artifacts. While Modes of Wonder, in Chapter 3, focuses on the relationship between information artifacts and audiences, the Point of View framework in Chapter 4 – which includes person, perspective, mode, and principle as the primary frames – illustrates the relationship between information artifacts and the designer who has created a specific response to a particular design problem. In order to demonstrate how these two frameworks can help us uncover plausible design strategies in a particular context of information ii design, I examine three cases of information artifacts that respond to specific design problems through use of the thematic variations of Point of View and Modes of Wonder as conceptual tools for analysis. This research makes the following contributions: it provides a theoretical framework that models the relationship among information artifacts, audiences, and designers in specific contexts. Specifically, Modes of Wonder allows design researchers and educators to articulate the relationships between information artifacts and audiences. In turn, the Point of View framework provides an approach for modeling design strategies that are often implicitly used by designers to create information artifacts aimed at producing a particular emotional effect for an audience.

Thesis (M.A.)--University of West Florida, 2007. / Title from title page of source document. Document formatted into pages; contains 50 pages. Includes bibliographical references.

Wonder Woman is seen as the embodiment of feminism in the comic world and her placement as the secretary of the Justice Society of America is seen as a crime against her character. Many blame Gardner Fox for this decision, but I argue that accusing him of sexism is an oversimplification. My work seeks to fill in the lack of knowledge regarding his writing of Wonder Woman and restore his name. While scholars are right to be attentive to the use of demeaning stereotypes that have long been used to keep women from access to power, the way in which Gardner Fox wrote Wonder Woman, conveys a sense of respect for women and their contributions to society in general; therefore, assertions that he is a sexist are not only misleading but inappropriately degrading the work of a man who was trying to accurately represent the women he saw around him.

Philosophy and Magic share a common root that goes back twenty thousand years to the role of the shaman in the village and his attempt to enact control over the surrounding forces of nature through ritual performance. During Greek and Roman times, philosophy leaves magic and religion as it turns towards language in order to bring understanding. In modern times, philosophy is mired in language games and has lost the practical power it once held to transform lives. In the first section of this thesis we will look at the history of magic and philosophy and how the two have changed over time. In the second section, we will examine the feeling of wonder and how being left speechless after witnessing a magic effect calls back to a simpler time in our lives before the existence of language. Throughout the thesis, we will examine the psychological, anthropological, archetypal, neurological and linguistic links that arise between the two professions. Finally, if magic and philosophy are still to be relevant today, we will look at the role that magic plays in the psyche of an educated society and we will consider how-by learning to think like magicians-philosophers and the practice of philosophy can be stronger and more useful in today's modern world.

This Must Be the Place is a collection of short stories that take place in Massachusetts, America. Each story exists as a subtle celebration of the ordinary moments of our lives that softly, and gradually, shape us over time. This testament to the every-day is characterized by detailed, tender depictions of brief conversations, picnics in parks, afternoon car rides, and trips to the grocery store with past lovers. Although the narrators and other orbiting characters in the stories are all different, they are bound together by an insatiable curiosity and fascination with the world and the human condition. Inspired by works from authors such as Raymond Carver, Richard Brautigan, William Trevor, Carrie Fountain, and Andre Dubus, This Must Be the Place is a comment on how we, as people, are as defined by the decisions we do not make as the ones that we do. The characters in each piece confront choices and the invariable emotional consequences that will follow them, either temporarily or for the foreseeable future. These consequences propel the narratives, causing anxiety, uncertainty, and at times even excitement for all of those involved. Similarly, and perhaps more importantly, because of these consequences, the gears of the characters’ hearts shift, ever so slightly, in new, unexplored directions. As a whole, This Must Be the Place is about the understated importance embedded in every connection, misconnection, beginning, and ending.