Rainbow World: Poems from many cultures.

This work is an authoritative collection of poems from other cultures for the 21st century. Poets included range from Valerie Bloom, Jackie Kay, Benjamin Zephaniah, Lemn Sissay, Meiling Jin, Tao Lang Pee and Bekleen Leong to Rabrindranath Tagore, Monica Alvi and Chuang Tzu. Comprising over 100 contributions, there is a balance of poets in ethnicity and gender, and of poems in content, form and style. Themes covered include: Food, festivals and festivities; Race, culture and identity; Families, friends and enemies; Travel and landscape; Language and nonsense; The animal world; and, School and playground and Mystery, myth and magic.

Factibilidad de relanzamiento de la revista de manualidades Costureando

Este es un trabajo de carácter académico que busca identificar la viabilidad del relanzamiento de la revista de manualidades “Costureando”, nacida en la ciudad de Medellín y enfocada a un público específico: mujeres de estratos 4, 5 y 6 de Colombia, amantes a las manualidades y a las actividades de sano entretenimiento. En este documento se presenta el producto mencionado anteriormente y sobre él se hace un análisis enfocado a entender su viabilidad de venta en el mercado actual. Este análisis se logra a través del planteamiento de unos objetivos específicos que orientan la recolección de información, para ser respondidos a través de unas conclusiones y recomendaciones finales; que nacen de los resultados de investigaciones en fuentes secundarias, observaciones en puntos de venta, encuestas a una muestra poblacional y entrevistas con expertos.

Dancing the Archive: Rhythms of Change in Post-Volcano Identities on Montserrat, West Indies

In this dissertation, I demonstrate how improvisations within the structures of performance during Montserrat’s annual festivals produce “rhythms of change” that contribute to the formation of cultural identities. Montserrat is a small island of 39.5 square miles in the Caribbean’s Leeward Islands, and a volcanic disaster in the 1990s led to the loss of villages, homes, and material possessions. The crisis resulted in mass displacement and emigration, and today’s remaining population of 5,000 is now in a stage of post-volcano redevelopment. The reliability of written archives for establishing cultural knowledge is tenuous, and the community is faced with re-energizing cherished cultural traditions. This ethnographic research traces my embodied search for Montserrat’s history through an archive that is itself intangible and performative. Festivals produce some of the island’s most visible and culturally political events, and music and dance performances prompt on- and off-stage discussions about the island’s multifaceted heritage. The festival cycle provides the structure for ongoing renegotiations of what it means to be “Montserratian.” I focus especially on the island’s often-discussed and debated “triangular” heritage of Irishness, Africanness, and Montserratianness as it is performed during the festivals. Through my meanderings along the winding hilly roads of Montserrat, I explored reconfigurations of cultural memory through the island’s masquerade dance tradition and other festival celebrations. In this work, I introduce a “Cast of Characters,” each of whose scholarly, artistic, and public service work on Montserrat contributes to the shape and transformation of the island’s post-volcano cultural identities today. This dissertation is about the kinesthetic transmission of shared (and sometimes unshared) cultural knowledge, the substance of which echoes in the rhythms of Montserrat’s music and dance practices today.

Trajetórias do canto coral no Maranhão: FEMACO como referência histórica num processo de continuidades e rupturas

O FEMACO – Festival Maranhense de Coros – teve durante a sua existência (1977-2012) um forte impacto sociocultural em São Luís, capital do Maranhão e contribuiu decisivamente para a formação de diretores corais e educadores musicais nesta região. A presente investigação constitui um levantamento histórico dos 36 anos de existência deste festival e uma reflexão sobre a sua contribuição para a música coral no Estado do Maranhão. Para chegar a estes objetivos foi realizado um levantamento dos materiais impressos que constam do arquivo do próprio Festival, existente na Universidade Federal do Maranhão, nomeadamente dos cartazes e brochuras com os programas do festival, e dos registos existentes nos jornais locais sobre o mesmo. Foram realizadas entrevistas com os autores do projeto FEMACO e foi ainda feito um inquérito, através de um questionário, a professores e regentes que participaram no festival. Sendo este o primeiro registo histórico sobre o FEMACO, um dos festivais de corais mais antigos da região Nordeste do Brasil, pretende-se realizar uma reflexão sobre a sua influência na música coral no Maranhão e fornecer dados que, esperamos, poderão servir como fonte de consulta para futuras investigações.

SPINNING NARRATIVES ACROSS POLITICAL DIVIDES: HARNESSING THE CULTURAL POWER OF A STORY WELL-TOLD

This dissertation explores how two American storytellers, considered by many in their to be exemplary in their craft, rely on narrative strategies to communicate to their audiences on divisive political topics in a way that both invokes feelings of pleasure and connection and transcends party identification and ideological divides. Anna Quindlen, through her political columns and op-eds, and Aaron Sorkin, through his television show The West Wing, have won over a politically diverse fan base in spite of the fact that their writing espouses liberal political viewpoints. By telling stories that entertain, first and foremost, Quindlen and Sorkin are able to have a material impact on their audiences on both dry and controversial topics, accomplishing that which 19th Century writer and activist Harriet Farley made her practice: writing in such a way to gain the access necessary to “do good by stealth.” This dissertation will argue that it is their skilled use of storytelling elements, which capitalize on the cultural relationship humans have with storytelling, that enables Quindlen and Sorkin to achieve this. The dissertation asks: How do stories shape the beliefs, perspectives, and cognitive functions of humans? How do stories construct culture and interact with cultural values? What is the media’s role in shaping society? What gives stories their power to unite as a medium? What is the significance of the experience of reading or hearing a well-told story, of how it feels? What are the effects of Quindlen’s and Sorkin’s writing on audience members and the political world at large? What is lost when a simplistic narrative structure is followed? Who is left out and what is overlooked? The literature that informs the answers to these questions will cross over and through several academic disciplines: American Studies, British Cultural Studies, Communication, Folklore, Journalism, Literature, Media Studies, Popular Culture, and Social Psychology. The chapters will also explore scholarship on the subjects of narratology and schema theory.

Teaching Sight-Reading to Undergraduate Choral Ensemble Singers: Lessons from Successful Learners

This study was designed to investigate professional choral singers’ training, perceptions on the importance of sight-reading skill in their work, and thoughts on effective pedagogy for teaching sight-reading to undergraduate choral ensemble singers. Participants in this study (N=48) included self-selected professional singers and choral conductors from the Summer 2015 Oregon Bach Festival’s Berwick Chorus and conducting Master Class. Data were gathered from questionnaire responses and audio recorded focus group sessions. Focus group data showed that the majority of participants developed proficiency in their sight-reading skills from instrumental study, aural skills classes, and through on-the-job training at a church job or other professional choral singing employment. While participants brought up a number of important job skills, sightreading was listed as perhaps the single most important skill that a professional choral singer could develop. When reading music during the rehearsal process, the data revealed two main strategies that professional singers used to interpret the pitches in their musical line: an intervallic approach and a harmonic approach. Participants marked their scores systematically to identify problem spots and leave reminders to aid with future readings, such as marking intervals, solfege syllables, or rhythmic counts. Participants reported using a variety of skills other than score marking to try to accurately find their pitches, such as looking at other vocal or instrumental lines, looking ahead, and using knowledge about a musical style or time period to make more intuitive “guesses” when sight-reading. Participants described using additional approaches when sight-reading in an audition situation, including scanning for anchors or anomalies and positive self-talk. Singers learned these sight-reading techniques from a variety of sources. Participants had many different ideas about how best to teach sight-reading in the undergraduate choral ensemble rehearsal. The top response was that sight-reading needed to be practiced consistently in order for students to improve. Other responses included developing personal accountability, empowering students, combining different teaching methods, and discussing real-life applications of becoming strong sight-readers. There was discussion about the ultimate purpose of choir at the university level and whether it is to teach musicianship skills or produce excellent performances.

Antonio Salieri's La calamita de' cuori (1774): Sources, Form, Context

Antonio Salieri’s La calamita de’ cuori (1774) warrants musicological attention for what it can tell us about Salieri’s compositional craft and what it reveals about the development of form in Viennese Italian-language comic opera of the mid- and late-eighteenth century. In Part I of this dissertation, I explore the performance history of La calamita, present the first plot synopsis and English translation of the libretto, and describe the variants between Carlo Goldoni’s 1752 libretto and the revised version created for Salieri’s opera. I have collated Salieri’s holograph score, Österreichische Nationalbibliothek, Vienna, Mus. Hs. 16.508, with four copies having different relationships to it, and I propose a stemma that represents the relationships between these five sources. The analyses in Part II contribute to our understanding of formal practices in eighteenth-century drammi giocosi. My study of Salieri’s La calamita reveals his reliance on a clearly defined binary structure, referred to in this dissertation as “operatic binary form,” in almost half of the arias, ensembles, and instrumental movements of this opera. Salieri’s consistent use of operatic binary form led me to explore its use in drammi giocosi by other prominent composers of this time, including Baldassare Galuppi’s La calamita de’ cuori (1752), Wolfgang Amadeus Mozart’s Il dissoluto punito, ossia Il Don Giovanni (1787), and selected arias by Pasquale Anfossi, Florian Leopold Gassmann, Giuseppe Gazzaniga, Franz Joseph Haydn, Giovanni Paisiello, and Niccolò Piccinni dating from 1760 to 1774. This study showed that Salieri and his peers adhered to a recognizable tonal plan and set of design elements in their operatic binary forms, and that their arias fall into three distinct categories defined by the tonality at the beginning of the second half of the binary structure. The analysis presented here adds to our present understanding of operatic form in mid- and late-century drammi giocosi and shows that in La calamita de’ cuori, Salieri was following the normative formal procedures of his time.

The Gospel of Something or Other / Critical mass

This thesis is comprised of two components: a creative work of fiction and a critical analysis of the fiction through a discussion of craft and creative influence. The creative section, the novel The Gospel of Something or Other, is a formally experimental work that explores authenticity - of both narrative and voice - authorial identity, the performativity of grief and sincerity, and the aesthetic function of narratalogical failure. The critical section of the thesis, Critical Mass, analyses the work of David Foster Wallace and James Wood in relation to the aforementioned fiction, discussing aspects of craft most relevant to the novel: the function of comedy and the function of manipulation. The critical piece investigates the extent to which influence can be identified in the creative process and the unstable relationship between critical interpretation and authorial intent.

The 1998 BFA Graduating Class: Department of Visual Arts

The exhibition of works by Sir Wilfred Grenfell College's graduating Class in visual arts constitutes the culmination of four years of intensive study and practice. our students are trained in the fundamentals of their craft and exposed tio a variety of media and styles ranging from the traditional to the avant garde. But their education has more to do with the exploration and development of their creativity, the enlargement of their capacity to see, and their mastery of the vocabulary of sight, enabling them to discover, uncover and represent. Each of the students ha sustained and nurtured an individual and unique quest over the four years of this rigorous programme.

The 1999 BFA Graduating Class: Department of Visual Arts

One of the Highlights of our academic year is the exhibition of the works of the graduating class in our visual arts degree program. Of course it is very Satisfying to see such an unambiguous evidence of accomplishments of our students.But i also find the exhibition invariably inspiring because of the works themselves,which stimulate us to see again as children, with wide-eyed curiosity and wonder, without the need to explain or reduce, with delight, with horror, with recognition. In enabling us to see again in this way, the students have learned a very demanding craft and educated themselves inthe history, vocabulary and syntax of visual expression.

Las agencias colombianas de publicidad como agentes del marketing nacional e internacional

Este artículo es un análisis estadístico retrospectivo de la nacionalidad de dos elementos: las agencias de publicidad con sede en Colombia con mayor número de anuncios premiados en festivales nacionales e internacionales, y las marcas que presentan estos anuncios, según los datos referentes a Colombia generados por el ranking UNIR de Publicidad Iberoamericano (2012-2013). Los resultados demuestran que estas agencias son agentes del marketing nacional e internacional, destacando que son los anuncios con temática y recursos nacionales los más premiados. 

Playing for Real: Designing Alternate Reality Games in Learning Contexts

Alternate Reality Game (ARG) represent a new genre of transmedia practice where players hunt for scattered clues, make sense of disparate information, and solve puzzles to advance an ever-evolving storyline. Players participate in ARGs using multiple communications technologies, ranging from print materials to mobile devices. However, many interaction design challenges must be addressed to weave these everyday communication tools together into an immersive, participatory experience. Transmedia design is not an everyday process. Designers must create and connect story bits across multiple media (video, audio, text) and multiple platforms (phones, computers, physical spaces). Furthermore, they must engage with players of varying skill levels. Few studies to-date have explored the design process of ARGs in learning contexts. Fewer still have focused on challenges involved in designing for youth (13-17 years old). In this study, I explore the process of designing ARGs as vehicles for promoting information literacy and participatory culture for adolescents (13-17 years old). Two ARG design scenarios, distinguished by target learning environment (formal and informal context) and target audience (adolescents), comprise the two cases that I examine. Through my analysis of these two design cases, I articulate several unique challenges faced by designers who create interactive, transmedia stories for – and with – youth. Drawing from these design challenges, I derive a repertoire of design strategies that future designers and researchers may use to create and implement ARGs for teens in learning contexts. In particular, I propose a narrative design framework that allows for the categorization of ARGs as storytelling constructs that lie along a continuum of participation and interaction. The framework can serve as an analytic tool for researchers and a guide for designers. In addition, I establish a framework of social roles that designers may employ to craft transmedia narratives before live launch and to promote and scaffold player participation after play begins. Overall, the contributions of my study include theoretical insights that may advance our understanding of narrative design and analysis as well as more practical design implications for designers and practitioners seeking to incorporate transmedia features into learning experiences that target youth.

Classificação como Conjunto de Interesse Público (CIP) dos Vestígios Arqueológicos de Lourosa

O presente projeto tem como principal objetivo a Classificação como Conjunto de Interesse Público (CIP) dos Vestígios Arqueológicos de Lourosa, associando ao estudo o potencial turístico que advém da ligação aos recursos patrimoniais. Outros objetivos: A Criação de um Centro Interpretativo da Cultura Judaica e o Reconhecimento e Notoriedade Internacional. O Turismo Cultural e Religioso, considerado como um produto emergente e inovador e uma das apostas do Plano Estratégico Nacional do Turismo (PENT) 2013/2015 continua a ser um recurso turístico do projeto Turismo 2020. A presença judaica em Portugal é tida pela comunidade científica como muito significativa e o seu valor patrimonial muito relevante. Constituem aspetos deste património histórico-cultural: as comunas e as judiarias, as sinagogas e os armários sagrados, as inscrições e as marcas de simbologia judaica e cristã-nova, as tradições e os costumes. A confluência entre a cultura, a religião e o turismo dá origem ao denominado Turismo Cultural e Religioso. A Organização Mundial do Turismo, identifica o turismo cultural como sendo: O movimento de pessoas essencialmente por motivos culturais, incluindo visitas de grupo, visitas culturais, viagens a festivais, visitas a sítios históricos e monumentos, folclore e peregrinação (OMT, 1985, citado por McKercher e du Cros, 2002). O turismo cultural tem sido considerado a área de maior crescimento no turismo global. O turismo religioso tem igualmente uma relação forte com o património existente sendo que, o principal objetivo é a participação em rituais de culto. Assim sendo, o turismo é uma atividade multifacetada que apresenta uma forte ligação com o património material e imaterial existente contribuindo desta forma, para o desenvolvimento económico e social de uma determinada região.

Aprendizagem de um gênero de discurso e de atividade de autoconfrontação em ações de formação docente continuada na educação superior

The objective of this text is to discuss a central question in a doctorate study, in progress, about the learning of the speech genre in self-confrontation situations. This consists of a procedure, which a worker observes your own images, video recorded at the time it performs activities related to their craft; It requests that he comment on what he was doing on the images in order to clarify matters for himself and another - be it a intervenant (simple self-confrontation) or a coworker (crossed self-confrotation). (CLOT, 2008/2010). In the context of this research, the confronted workers are university teachers and students who participate in an action of teacher continuing education. The object of the research is the process of speech genre of learning self-confrontation situation, having as subject a person who conducts self-confrontations training, which initially observed the conduct of dialogues and reflections, and will gradually participating in the self-confrontation activity and becoming also forming another. The theoretical foundations of the research seeks an articulation between sciences such as the Psychology of Labor, the Cultural-historical Psychology and Linguistics. The concepts that are employed come from Clot´s theory of the Psychology of Labor, that is, from the Clinic of Activity and from the activity genre studies (CLOT, 2008/2010); they also come from the Vygotskian theory of human development, with the concepts of thinking and speech (VIGOTSKI, 1934/1998); and from the Bakhtinian dialogic principle (BAKHTIN, 1979/2011). We believe that the formation of the person conducting self-confrontation occurs through learning a gender of speech and a genre of activity.

Sculpting in ice: writing for the postmodern stage

In the following thesis I argue that from within a postmodern framework the ‘realist narrative mode’ finds its position as the narratological form of choice for communicating historical and biographical ‘truth’ under question. Furthermore, as the formal distinctions between ‘fictional’ and ‘factual’ writing become less clear, I propose that the writer’s approach to his/her craft must also be redefined. Under such conditions I argue that each individual text defines and legitimises its own particular terms of reference and narrative form. The act of writing within a postmodern framework therefore, is not only a craft, but also a philosophical activity and as such requires the writer to enter the world of theoretical fiction. Sculpting in Ice is the product of one such text entering into this process. This thesis demonstrates in action the process by which the play text for Sculpting in Ice develops its own theory of fiction through the writing of that fiction. The primary focus of the thesis is, therefore, to explore the relationship between writing and theory and to render explicit the particular ‘theory of fiction’ created during the writing of Sculpting in Ice.