El fragmento y la abstracción

El tema objeto de esta Tesis, el Fragmento y la Abstracción, es una propuesta de análisis sobre el diálogo entre el fragmento como object trouvé y la abstracción, como un modo de proceder por parte del autor en el proyecto de arquitectura. En un principio, tal vez la creación artística nació como un intento por comprender la complejidad del mundo en que el ser humano vivía. Y se dedica a establecer un diálogo con el fragmento, a veces buscando su significado como parte de una historia desconocida, otras como parte de su propia historia pero también como referencia a una etapa mítica, convirtiéndose en símbolo de un paraíso perdido. El fragmento ha dado lugar al diálogo entre obra y autor tanto en música como en literatura o pintura. Esta tesis intenta analizar dicho diálogo en la arquitectura. Esta investigación comienza interrogándose sobre el sentido del fragmento y la abstracción como el modo de pensamiento leve, en definición de Italo Calvino, que nos permite conectar las ideas más alejadas. Para ello, se propusieron cinco modelos para explorar dicha relación. Los edificios elegidos fueron 1.- Villa Adriana 2.- Palacio de Carlos V en la Alhambra 3.- La casa- museo de Sir John Soane 4.- El Carmen de Rodríguez-Acosta 5.- Castelvecchio Dos de ellos residencies imperiales (1 y 2) Dos fortalezas (2 y5) Dos casas-estudio (3 y 4) Las cinco tienen relación con jardines De sus autores no todos son conocidos Tres de ellos se dedicaron a la docencia en arquitectura. Los cinco tienen carácter museográfico. P.D. Durante la investigación, para relacionar a unos y otros, se introdujo a Gian Battista Piranesi como importante nexo de unión entre antigüedad y modernidad. ABSTRACT The subject of this Thesis “Fragment and Abstraction, is a purpose of analysis about the dialogue between fragment as object trouvé and abstraction, as a way to do by the author in the architectural project. At first, we suppose historically that artistic creation is born as a way to understand the complexity of the world where the human beings lives. They tried to stablish a dialogue with the fragment, looking for its meaning, sometimes as the part of an unknown story, sometimes as part of their own history, but sometimes as reference of mythic times, becoming a symbol of a lost paradise. In arts, fragment is at beginning of many dialogues between craft and the author, as we know in music, literature or painting. This thesis try to analyze this dialogue in architecture. This investigation began asking for the meaning of fragment as something what was broken out from something we do not know, and abstraction as an immaterial way of thinking which let us connecting the most far ideas. Therefore, five architectural model were proposed, in order to explain that relationship. The chosen buildings were: 1- Villa Adriana 2- Charles V Imperator’s Palace at la Alhambra 3- Sir John Soane House -Museum 4- Rodríguez –Acostas’s Carmen 5- Castelvecchio by Carlo Scarpa There are: Two Imperial palaces (the 1st and 2nd), Two fortresses (the 2nd and 5th) Two House-Artist Studio (the 3rd and 4th) Five types of relationship with gardens. The authors, from them, we do not know some of them Three of the architects used to teach architecture All of them went to Rome Now the five buildings have become museum institution.During the investigation, in order to explain the relationship between them, I introduced Giambattista Piranesi as an important nexus to understand the transition from the antiquity to the modernity.

Coherent structures in statistically-stationary homogeneous shear turbulence

La región cerca de la pared de flujos turbulentos de pared ya está bien conocido debido a su bajo número de Reynolds local y la separación escala estrecha. La región lejos de la pared (capa externa) no es tan interesante tampoco, ya que las estadísticas allí se escalan bien por las unidades exteriores. La región intermedia (capa logarítmica), sin embargo, ha estado recibiendo cada vez más atención debido a su propiedad auto-similares. Además, de acuerdo a Flores et al. (2007) y Flores & Jiménez (2010), la capa logarítmica es más o menos independiente de otras capas, lo que implica que podría ser inspeccionado mediante el aislamiento de otras dos capas, lo que reduciría significativamente los costes computacionales para la simulación de flujos turbulentos de pared. Algunos intentos se trataron después por Mizuno & Jiménez (2013), quien simulan la capa logarítmica sin la región cerca de la pared con estadísticas obtenidas de acuerdo razonablemente bien con los de las simulaciones completas. Lo que más, la capa logarítmica podría ser imitado por otra turbulencia sencillo de cizallamiento de motor. Por ejemplo, Pumir (1996) encontró que la turbulencia de cizallamiento homogéneo estadísticamente estacionario (SS-HST) también irrumpe, de una manera muy similar al proceso de auto-sostenible en flujos turbulentos de pared. Según los consideraciones arriba, esta tesis trata de desvelar en qué medida es la capa logarítmica de canales similares a la turbulencia de cizalla más sencillo, SS-HST, mediante la comparación de ambos cinemática y la dinámica de las estructuras coherentes en los dos flujos. Resultados sobre el canal se muestran mediante Lozano-Durán et al. (2012) y Lozano-Durán & Jiménez (2014b). La hoja de ruta de esta tarea se divide en tres etapas. En primer lugar, SS-HST es investigada por medio de un código nuevo de simulación numérica directa, espectral en las dos direcciones horizontales y compacto-diferencias finitas en la dirección de la cizalla. Sin utiliza remallado para imponer la condición de borde cortante periódica. La influencia de la geometría de la caja computacional se explora. Ya que el HST no tiene ninguna longitud característica externa y tiende a llenar el dominio computacional, las simulaciopnes a largo plazo del HST son ’mínimos’ en el sentido de que contiene sólo unas pocas estructuras media a gran escala. Se ha encontrado que el límite principal es el ancho de la caja de la envergadura, Lz, que establece las escalas de longitud y velocidad de la turbulencia, y que las otras dos dimensiones de la caja debe ser suficientemente grande (Lx > 2LZ, Ly > Lz) para evitar que otras direcciones estando limitado también. También se encontró que las cajas de gran longitud, Lx > 2Ly, par con el paso del tiempo la condición de borde cortante periódica, y desarrollar fuertes ráfagas linealizadas no físicos. Dentro de estos límites, el flujo muestra similitudes y diferencias interesantes con otros flujos de cizalla, y, en particular, con la capa logarítmica de flujos turbulentos de pared. Ellos son exploradas con cierto detalle. Incluyen un proceso autosostenido de rayas a gran escala y con una explosión cuasi-periódica. La escala de tiempo de ruptura es de aproximadamente universales, ~20S~l(S es la velocidad de cizallamiento media), y la disponibilidad de dos sistemas de ruptura diferentes permite el crecimiento de las ráfagas a estar relacionado con algo de confianza a la cizalladura de turbulencia inicialmente isotrópico. Se concluye que la SS-HST, llevado a cabo dentro de los parámetros de cílculo apropiados, es un sistema muy prometedor para estudiar la turbulencia de cizallamiento en general. En segundo lugar, las mismas estructuras coherentes como en los canales estudiados por Lozano-Durán et al. (2012), es decir, grupos de vórticidad (fuerte disipación) y Qs (fuerte tensión de Reynolds tangencial, -uv) tridimensionales, se estudia mediante simulación numérica directa de SS-HST con relaciones de aspecto de cuadro aceptables y número de Reynolds hasta Rex ~ 250 (basado en Taylor-microescala). Se discute la influencia de la intermitencia de umbral independiente del tiempo. Estas estructuras tienen alargamientos similares en la dirección sentido de la corriente a las familias separadas en los canales hasta que son de tamaño comparable a la caja. Sus dimensiones fractales, longitudes interior y exterior como una función del volumen concuerdan bien con sus homólogos de canales. El estudio sobre sus organizaciones espaciales encontró que Qs del mismo tipo están alineados aproximadamente en la dirección del vector de velocidad en el cuadrante al que pertenecen, mientras Qs de diferentes tipos están restringidos por el hecho de que no debe haber ningún choque de velocidad, lo que hace Q2s (eyecciones, u < 0,v > 0) y Q4s (sweeps, u > 0,v < 0) emparejado en la dirección de la envergadura. Esto se verifica mediante la inspección de estructuras de velocidad, otros cuadrantes como la uw y vw en SS-HST y las familias separadas en el canal. La alineación sentido de la corriente de Qs ligada a la pared con el mismo tipo en los canales se debe a la modulación de la pared. El campo de flujo medio condicionado a pares Q2-Q4 encontró que los grupos de vórticidad están en el medio de los dos, pero prefieren los dos cizalla capas alojamiento en la parte superior e inferior de Q2s y Q4s respectivamente, lo que hace que la vorticidad envergadura dentro de las grupos de vórticidad hace no cancele. La pared amplifica la diferencia entre los tamaños de baja- y alta-velocidad rayas asociados con parejas de Q2-Q4 se adjuntan como los pares alcanzan cerca de la pared, el cual es verificado por la correlación de la velocidad del sentido de la corriente condicionado a Q2s adjuntos y Q4s con diferentes alturas. Grupos de vórticidad en SS-HST asociados con Q2s o Q4s también están flanqueadas por un contador de rotación de los vórtices sentido de la corriente en la dirección de la envergadura como en el canal. La larga ’despertar’ cónica se origina a partir de los altos grupos de vórticidad ligada a la pared han encontrado los del Álamo et al. (2006) y Flores et al. (2007), que desaparece en SS-HST, sólo es cierto para altos grupos de vórticidad ligada a la pared asociados con Q2s pero no para aquellos asociados con Q4s, cuyo campo de flujo promedio es en realidad muy similar a la de SS-HST. En tercer lugar, las evoluciones temporales de Qs y grupos de vórticidad se estudian mediante el uso de la método inventado por Lozano-Durán & Jiménez (2014b). Las estructuras se clasifican en las ramas, que se organizan más en los gráficos. Ambas resoluciones espaciales y temporales se eligen para ser capaz de capturar el longitud y el tiempo de Kolmogorov puntual más probable en el momento más extrema. Debido al efecto caja mínima, sólo hay un gráfico principal consiste en casi todas las ramas, con su volumen y el número de estructuras instantáneo seguien la energía cinética y enstrofía intermitente. La vida de las ramas, lo que tiene más sentido para las ramas primarias, pierde su significado en el SS-HST debido a las aportaciones de ramas primarias al total de Reynolds estrés o enstrofía son casi insignificantes. Esto también es cierto en la capa exterior de los canales. En cambio, la vida de los gráficos en los canales se compara con el tiempo de ruptura en SS-HST. Grupos de vórticidad están asociados con casi el mismo cuadrante en términos de sus velocidades medias durante su tiempo de vida, especialmente para los relacionados con las eyecciones y sweeps. Al igual que en los canales, las eyecciones de SS-HST se mueven hacia arriba con una velocidad promedio vertical uT (velocidad de fricción) mientras que lo contrario es cierto para los barridos. Grupos de vórticidad, por otra parte, son casi inmóvil en la dirección vertical. En la dirección de sentido de la corriente, que están advección por la velocidad media local y por lo tanto deforman por la diferencia de velocidad media. Sweeps y eyecciones se mueven más rápido y más lento que la velocidad media, respectivamente, tanto por 1.5uT. Grupos de vórticidad se mueven con la misma velocidad que la velocidad media. Se verifica que las estructuras incoherentes cerca de la pared se debe a la pared en vez de pequeño tamaño. Los resultados sugieren fuertemente que las estructuras coherentes en canales no son especialmente asociado con la pared, o incluso con un perfil de cizalladura dado. ABSTRACT Since the wall-bounded turbulence was first recognized more than one century ago, its near wall region (buffer layer) has been studied extensively and becomes relatively well understood due to the low local Reynolds number and narrow scale separation. The region just above the buffer layer, i.e., the logarithmic layer, is receiving increasingly more attention nowadays due to its self-similar property. Flores et al. (20076) and Flores & Jim´enez (2010) show that the statistics of logarithmic layer is kind of independent of other layers, implying that it might be possible to study it separately, which would reduce significantly the computational costs for simulations of the logarithmic layer. Some attempts were tried later by Mizuno & Jimenez (2013), who simulated the logarithmic layer without the buffer layer with obtained statistics agree reasonably well with those of full simulations. Besides, the logarithmic layer might be mimicked by other simpler sheardriven turbulence. For example, Pumir (1996) found that the statistically-stationary homogeneous shear turbulence (SS-HST) also bursts, in a manner strikingly similar to the self-sustaining process in wall-bounded turbulence. Based on these considerations, this thesis tries to reveal to what extent is the logarithmic layer of channels similar to the simplest shear-driven turbulence, SS-HST, by comparing both kinematics and dynamics of coherent structures in the two flows. Results about the channel are shown by Lozano-Dur´an et al. (2012) and Lozano-Dur´an & Jim´enez (20146). The roadmap of this task is divided into three stages. First, SS-HST is investigated by means of a new direct numerical simulation code, spectral in the two horizontal directions and compact-finite-differences in the direction of the shear. No remeshing is used to impose the shear-periodic boundary condition. The influence of the geometry of the computational box is explored. Since HST has no characteristic outer length scale and tends to fill the computational domain, longterm simulations of HST are ‘minimal’ in the sense of containing on average only a few large-scale structures. It is found that the main limit is the spanwise box width, Lz, which sets the length and velocity scales of the turbulence, and that the two other box dimensions should be sufficiently large (Lx > 2LZ, Ly > Lz) to prevent other directions to be constrained as well. It is also found that very long boxes, Lx > 2Ly, couple with the passing period of the shear-periodic boundary condition, and develop strong unphysical linearized bursts. Within those limits, the flow shows interesting similarities and differences with other shear flows, and in particular with the logarithmic layer of wallbounded turbulence. They are explored in some detail. They include a self-sustaining process for large-scale streaks and quasi-periodic bursting. The bursting time scale is approximately universal, ~ 20S~l (S is the mean shear rate), and the availability of two different bursting systems allows the growth of the bursts to be related with some confidence to the shearing of initially isotropic turbulence. It is concluded that SS-HST, conducted within the proper computational parameters, is a very promising system to study shear turbulence in general. Second, the same coherent structures as in channels studied by Lozano-Dur´an et al. (2012), namely three-dimensional vortex clusters (strong dissipation) and Qs (strong tangential Reynolds stress, -uv), are studied by direct numerical simulation of SS-HST with acceptable box aspect ratios and Reynolds number up to Rex ~ 250 (based on Taylor-microscale). The influence of the intermittency to time-independent threshold is discussed. These structures have similar elongations in the streamwise direction to detached families in channels until they are of comparable size to the box. Their fractal dimensions, inner and outer lengths as a function of volume agree well with their counterparts in channels. The study about their spatial organizations found that Qs of the same type are aligned roughly in the direction of the velocity vector in the quadrant they belong to, while Qs of different types are restricted by the fact that there should be no velocity clash, which makes Q2s (ejections, u < 0, v > 0) and Q4s (sweeps, u > 0, v < 0) paired in the spanwise direction. This is verified by inspecting velocity structures, other quadrants such as u-w and v-w in SS-HST and also detached families in the channel. The streamwise alignment of attached Qs with the same type in channels is due to the modulation of the wall. The average flow field conditioned to Q2-Q4 pairs found that vortex clusters are in the middle of the pair, but prefer to the two shear layers lodging at the top and bottom of Q2s and Q4s respectively, which makes the spanwise vorticity inside vortex clusters does not cancel. The wall amplifies the difference between the sizes of low- and high-speed streaks associated with attached Q2-Q4 pairs as the pairs reach closer to the wall, which is verified by the correlation of streamwise velocity conditioned to attached Q2s and Q4s with different heights. Vortex clusters in SS-HST associated with Q2s or Q4s are also flanked by a counter rotating streamwise vortices in the spanwise direction as in the channel. The long conical ‘wake’ originates from tall attached vortex clusters found by del A´ lamo et al. (2006) and Flores et al. (2007b), which disappears in SS-HST, is only true for tall attached vortices associated with Q2s but not for those associated with Q4s, whose averaged flow field is actually quite similar to that in SS-HST. Third, the temporal evolutions of Qs and vortex clusters are studied by using the method invented by Lozano-Dur´an & Jim´enez (2014b). Structures are sorted into branches, which are further organized into graphs. Both spatial and temporal resolutions are chosen to be able to capture the most probable pointwise Kolmogorov length and time at the most extreme moment. Due to the minimal box effect, there is only one main graph consist by almost all the branches, with its instantaneous volume and number of structures follow the intermittent kinetic energy and enstrophy. The lifetime of branches, which makes more sense for primary branches, loses its meaning in SS-HST because the contributions of primary branches to total Reynolds stress or enstrophy are almost negligible. This is also true in the outer layer of channels. Instead, the lifetime of graphs in channels are compared with the bursting time in SS-HST. Vortex clusters are associated with almost the same quadrant in terms of their mean velocities during their life time, especially for those related with ejections and sweeps. As in channels, ejections in SS-HST move upwards with an average vertical velocity uτ (friction velocity) while the opposite is true for sweeps. Vortex clusters, on the other hand, are almost still in the vertical direction. In the streamwise direction, they are advected by the local mean velocity and thus deformed by the mean velocity difference. Sweeps and ejections move faster and slower than the mean velocity respectively, both by 1.5uτ . Vortex clusters move with the same speed as the mean velocity. It is verified that the incoherent structures near the wall is due to the wall instead of small size. The results suggest that coherent structures in channels are not particularly associated with the wall, or even with a given shear profile.

The Putin doctrine: The formation of a conceptual framework for Russian dominance in the post-Soviet area. OSW Commentary No. 131, 28.03.2014

The statements made in recent weeks by Russian officials, and especially President Vladimir Putin, in connection with Moscow’s policy towards Ukraine, may suggest that the emergence of a certain doctrine of Russian foreign and security policy is at hand, especially in relation to the post-Soviet area. Most of the arguments at the core of this doctrine are not new, but recently they have been formulated more openly and in more radical terms. Those arguments concern the role of Russia as the defender of Russian-speaking communities abroad and the guarantor of their rights, as well as specifically understood good neighbourly relations (meaning in fact limited sovereignty) as a precondition that must be met in order for Moscow to recognise the independence and territorial integrity of post-Soviet states. However, the new doctrine also includes arguments which have not been raised before, or have hitherto only been formulated on rare occasions, and which may indicate the future evolution of Russia’s policy. Specifically, this refers to Russia’s use of extralegal categories, such as national interest, truth and justice, to justify its policy, and its recognition of military force as a legitimate instrument to defend its compatriots abroad. This doctrine is effectively an outline of the conceptual foundation for Russian dominance in the post-Soviet area. It offers a justification for the efforts to restore the unity of the ‘Russian nation’ (or more broadly, the Russian-speaking community), within a bloc pursuing close integration (the Eurasian Economic Union), or even within a single state encompassing at least parts of that area. As such, it poses a challenge for the West, which Moscow sees as the main opponent of Russia’s plans to build a new order in Europe (Eurasia) that would undermine the post-Cold War order.

The music teacher and public relations; a report.

Bibliography: p. 41.

Ideals of America; analyses of the guiding motives of contemporary American life by leaders in various fields of thought and action.

Can America's ideal be consciously shaped? by G. E. Hooker.--Ideals in politics, by F. D. Bramhall.--Ideals in law, by J. B. Winslow.--Ideals in labor, by J. P. Frey.--Ideals of science, by J. M. Coulter.--Ideals in education, by E. C. Moore.--Ideals in business, by A. E. Swanson.--Ideals in "society," by Elsie C. Parsons.--Ideals in music, by E. Dickinson.--Ideals in religion, by G. A. Coe.--Ideals in philosophy, by H. A. Overstreet.--Ideals in literature, by R. M. Lovett.--Human progress, by A. B. Pond.

Music and bad manners /

Music and bad manners.--Music for the movies.--Spain and music.--Shall we realize Wagner's ideals?--The bridge burners.--A new principle in music.--Leo Ornstein.

Teaching Australian cello music to Intermediate students: An exploratory study of motivation through repertoire

This paper explores the motivational aspects of repertoire for intermediate student cellists. Research into interest and intrinsic motivation related to the learning of instrumental music has been limited to date. As a cello teacher interested in including contemporary and Australian music in my students' studies I started to research availability of Australian repertoire for intermediate cellists and found that there was limited accessibility to such pedagogical material at this level. This study emerged as a way of providing useful information to composers. It investigates intrinsic motivation by questioning students and their teachers about which aspects of music repertoire are most likely to inspire students to practice more and strive for excellence. This paper presents the findings of the purpose-designed questionnaire distributed to cello teachers in Queensland. A similar set of questions has been prepared for student cellists and information gathering from students is still underway. Musical aspects investigated include technique and its development, style, harmony, tempo (speed), and rhythm. The questionnaire gathered information on the most frequently used teaching repertoire and teachers' experiences in teaching contemporary and Australian repertoire. This information was balanced with questions regarding the technical developmental requirements perceived necessary for intermediate students as well as other motivational aspects. It is hoped that information collated from this research will be of benefit in the selection of motivational repertoire for intermediate student cellists and especially in promoting the composition of Australian pieces for intermediate cellists.

Individual spirit at work and its relationship with employee work attitudes and organisational outcomes:An empirical examination in corporate Thailand

The purpose of this thesis is to conduct empirical research in corporate Thailand in order to (1) validate the Spirit at Work Scale (2) investigate the relationships between individual spirit at work and three employee work attitudinal variables (job satisfaction, organisational identification and psychological well-being) and three organisational outcomes (in-role performance, organisational citizenship behaviours (OCB), and turnover intentions) (3) further examine causal relations among these organisational behaviour variables with a longitudinal design (4) examine three employee work attitudes as mediator variables between individual spirit at work and three organisational outcomes and (5) explore the potential antecedents of organisational conditions that foster employee experienced individual spirit at work. The two pilot studies with 155 UK and 175, 715 Thai samples were conducted for validation testing of the main measure used in this study: Spirit at Work Scale (Kinjerski & Skrypnek, 2006a). The results of the two studies including discriminant validity analyses strongly provided supportive evidence that Spirit at Work Scale (SAWS) is a sound psychometric measure and also a distinct construct from the three work attitude constructs. The final model of SAWS contains a total of twelve items; a three factor structure (meaning in work, sense of community, and spiritual connection) in which the sub-factors loaded on higher order factors and also had very acceptable reliability. In line with these results it was decided to use the second-order of SAWS model for Thai samples in the main study and subsequent analysis. The 715 completed questionnaires were received from the first wave of data collection during July - August 2008 and the second wave was conducted again within the same organisations and 501 completed questionnaires were received during March - April 2009. Data were obtained through 49 organisations which were from three types of organisations within Thailand: public organisations, for-profit organisations, and notfor-profit organisations. Confirmatory factor analysis of all measures used in the study and hypothesised model were tested with structural equation modelling techniques. The results were greatly supportive for the direct structural model and partially supportive for the fully mediated model. Moreover, there were different findings across self report and supervisor rating on performance and OCB models. Additionally, the antecedent conditions that fostered employees experienced individual spirit at work and the implications of these findings for research and practice are discussed.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.

The effect of direct instruction in story grammar using deep processing on the reading and writing achievement of second-graders

The purpose of this study was to investigate the effects of direct instruction in story grammar on the reading and writing achievement of second graders. Three aspects of story grammar (character, setting, and plot) were taught with direct instruction using the concept development technique of deep processing. Deep processing which included (a) visualization (the drawing of pictures), (b) verbalization (the writing of sentences), (c) the attachment of physical sensations, and (d) the attachment of emotions to concepts was used to help students make mental connections necessary for recall and application of character, setting, and plot when constructing meaning in reading and writing.^ Four existing classrooms consisting of seventy-seven second-grade students were randomly assigned to two treatments, experimental and comparison. Both groups were pretested and posttested for reading achievement using the Gates-MacGinitie Reading Tests. Pretest and posttest writing samples were collected and evaluated. Writing achievement was measured using (a) a primary trait scoring scale (an adapted version of the Glazer Narrative Composition Scale) and (b) an holistic scoring scale by R. J. Pritchard. ANCOVAs were performed on the posttests adjusted for the pretests to determine whether or not the methods differed. There was no significant improvement in reading after the eleven-day experimental period for either group; nor did the two groups differ. There was significant improvement in writing for the experimental group over the comparison group. Pretreatment and posttreatment interviews were selectively collected to evaluate qualitatively if the students were able to identify and manipulate elements of story grammar and to determine patterns in metacognitive processing. Interviews provided evidence that most students in the experimental group gained while most students in the comparison group did not gain in their ability to manipulate, with understanding, the concepts of character, setting, and plot. ^

Patronage and bribery in sixteenth-century Peru: The government of Viceroy Conde del Villar and the visita of Licentiate Alonso Fernandez de Bonilla

This dissertation deals with the nature of the political system in sixteenth-century colonial Spanish America through an analysis of the administration of Viceroy Fernando de Torres y Portugal, Conde del Villar, in Peru (1585–1590). The political conflicts surrounding his government and the accusations of bribery leveled against him and members of his household provide the documentation for a case study in a system in which prestige and authority were defined through a complex network of patronage and personal relationships with the Spanish monarch, the ultimate source of legitimate power. ^ This dissertation is conceptualized using categories presented in Max Weber's theory on the nature of political order and authority in the history of human societies and the definition of the patrimonial system as one in which the power of he king confers legitimacy and authority on the whole political structure. ^ The documentary base for this dissertation is an exceptionally detailed and complete record related to the official administrative review ( visita) ordered by Philip II in 1588 to assess the government of Viceroy Torres y Portugal. Additionally, letters as well as other primary and secondary sources are scattered in repositories on both sides of the Atlantic. ^ The study of this particular case offers an excellent opportunity to gain an understanding of a political order in which jurisdictional boundaries between institutions and authorities were not clearly defined. The legal system operating in the viceroyalty was subordinated to the personal decisions of the king, and order and equilibrium were maintained through the interaction of patronage networks that were reproduced at all levels of the colonial society. ^ The final charges against Viceroy Conde del Villar, as well as their impact on the political career of those involved in the accusations, reveal that situations today understood to constitute bribery had a different meaning in the context of a patrimonial order. ^

A motivação de licenciandos em música sob a perspectiva da teoria da autodeterminação

This research had as main aim to verify the motivational quality of music students at four public universities in the Northeast of Brazil, based on the Self-Determination Theory (SDT). This perspective was proposed by Edward Deci and Richard Ryan (1985, 2000, 2008a, 2008b), and considers the qualitative aspects of motivation. It defends that the individuals have a natural tendency to self-regulation; it adopts the concept of internalizations through a continuum of self-determination conceived in the mini-theory of organismic integration. The research presents a descriptive, exploratory and correlational approach. To collect data, it was submitted a self-report questionnaire, based on the Academic Motivational Scale, translated and validated by Guimarães and Bzuneck (2008), which allow us to verify the motivation types according to a selfdeterminational continuum. According to this application, the instrument has shown evidence of satisfactory validity, with a good internal consistence and correlations from weak to moderate scale. The obtained data were collected from 380 music students, analyzed through a descriptive and inferential statistics, considering a few procedures: frequencies, averages, standard deviation, factorial analysis, internal consistence analysis through Cronbach Alpha, Pearson’s correlational analysis and variance analysis. The analyzed data show that high averages in the evaluation of self-determined motivation and low evaluation in demotivation and less autonomy motivation. Many students revealed strong intention to conclude the course. It was identified less autonomous motivation and more motivation among the students with intention to work in other areas, some of them concluded the final training process in Music Course, and say that they are in this course because they had no other option. We conclude that those graduated in Music Course, represented in this sample, show a good motivational quality. But after a few time there is a tendency in decreasing autonomous motivation because of some requirements of an academic course. In this sense, the courses must create strategies to maintain a self-determined behavior so that students can realize their autonomous motivation, identifying its importance, value and meaning along the Course.

Differences in mismatch responses to vowels and musical intervals: MEG evidence.

We investigated the electrophysiological response to matched two-formant vowels and two-note musical intervals, with the goal of examining whether music is processed differently from language in early cortical responses. Using magnetoencephalography (MEG), we compared the mismatch-response (MMN/MMF, an early, pre-attentive difference-detector occurring approximately 200 ms post-onset) to musical intervals and vowels composed of matched frequencies. Participants heard blocks of two stimuli in a passive oddball paradigm in one of three conditions: sine waves, piano tones and vowels. In each condition, participants heard two-formant vowels or musical intervals whose frequencies were 11, 12, or 24 semitones apart. In music, 12 semitones and 24 semitones are perceived as highly similar intervals (one and two octaves, respectively), while in speech 12 semitones and 11 semitones formant separations are perceived as highly similar (both variants of the vowel in 'cut'). Our results indicate that the MMN response mirrors the perceptual one: larger MMNs were elicited for the 12-11 pairing in the music conditions than in the language condition; conversely, larger MMNs were elicited to the 12-24 pairing in the language condition that in the music conditions, suggesting that within 250 ms of hearing complex auditory stimuli, the neural computation of similarity, just as the behavioral one, differs significantly depending on whether the context is music or speech.

Masculinities and Narrating the Past: Experiences of Researching White men who Refused to Serve in the Apartheid Army

This article reflexively analyses the construction of identity and the representation of the past in qualitative interviews with white men who refused to serve in the apartheid-era South African Defence Force (SADF). The contribution that white male objectors made to the anti-apartheid struggle occupies an ambivalent and increasingly forgotten aspect of South African liberation history. In a reflexive research story, I argue that the gendered, sexual and raced subjectivities of the researcher and researched are central to the joint construction of meaning in the interview and in the creation of self-narratives. The article also analyses how the narratives of white men's involvement in resisting apartheid are defined by their perceived position and wider power struggles in contemporary South Africa.

The Standard ISO 15489-1 in German and Spanish: an Interlinguistic Comparison

The aim of this paper is to deepen in the terminology of Records Management established by ISO standards, through a concrete example such as an interlinguistic comparison between UNE ISO 15489-1 and DIN ISO 15489-1, that is, between the Spanish and German versions of the ISO 15489-1. For that, the text is divided into two major and complementary parts, which are similar to both analytical perspectives adopted: the semantic one and the pragmatic one. The first one compares the words per se, taking into account the significant or word form as well as the significance or meaning. In the second part, examples of use from both languages are discussed, concerning the three terms considered essential in the text (Record, Records Management System and Records Management). The main conclusion lies in understanding how important the language is as a discrete tool of work for all information scientists, specially concerning to the standards, where the translators must show their best linguistic strategies to go unnoticed.