Dissertations / Theses: 'Art, Norman' – Grafiati (2024)

Abstract:

This thesis examines the work of the Durham pitman and artist Norman Cornish whilst analysing the economic and cultural climate which has promoted and sustained his career as a regional artist for over seventy years. Cornish’s depiction of mining life remains widely acknowledged by regional patrons and the local media as an iconic representation of the distinctiveness of North East mining communities. The fact that his work continues to receive considerable media attention whilst maintaining a strong patronage within the region, promotes several issues relating to the understanding of regional culture and identity. Why has Cornish’s work remained so enduringly popular and what does this reveal about the dynamics of North East regional culture? This research considers the interpretation and patronage of Cornish’s work during key periods of the region’s development and in doing so provides the first sustained study of Cornish’s career in relation to regional cultural identity. Industrialisation, economic change, concepts of community and nostalgia are all recognised as fundamental factors which have shaped the region’s cultural identity during the twentieth century. Essentially, it is argued that a sense of ‘Northernness’ is crucial to Cornish’s regional popularity. Significantly, this thesis identifies a variation between Cornish’s regional and national popularity. The artist’s strong local appeal has not been replicated consistently on a broader national level. It is suggested that the varying national interest in Cornish’s career should be considered in relation to wider artistic trends as well as patronage from organisations such as the National Coal Board. On a regional level, a large proportion of Cornish’s continued appeal to local audiences can be attributed to the sympathetic response from the regional media. Whilst the study of regional identity within the scope of visual culture is by no means a new or impoverished field, this study adopts a thematic treatment of culture, identity and representation, in order to understand the contribution of visual culture to regional identity during the twentieth century. By dealing with visual culture in its broadest and most fluid sense, this study consults both social and cultural history sources alongside art historical perspectives.

Abstract:

Thesis (Ph.D.)--Boston University. Please note: Editorial Studies works are permanently embargoed in OpenBU. No public access is forecasted for this item. To request private access, please click on the locked Download file link, and fill out the appropriate web form.
A Fine and Growing Art is an annotated edition of letters and other documents chronicling the intertwining relationships and careers of Norman Mailer, James Jones, and William Styron, three prominent figures in American literature of the past century. I have endeavored to collect every surviving letter exchanged between the principals; I also include letters of other interlocutors, and published writings in which the principals discuss one another (or are discussed by others), insofar as these collateral documents touch informatively upon the principals' relationships with one another. A Fine and Growing Art is an elaborated three-way conversation, bringing forward expressions of opinion and feeling both public (in the sense of published, and often prominently so) and candid (in the reserved company of friends, or even in the near-secrecy of an unsent draft). Often funny, occasionally outrageous, consistently engaging, A Fine and Growing Art begins to unravel the mysteries long surrounding these three literary titans-about their friendships particularly, their feuds also, their evolving art, and how it all came to pass.
2031-01-01

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The purpose of my research is to examine the philosophic influences on three literary works: F. Scott Fitzgerald's The Great Gatsby, Ernest Hemingway's Death in the Afternoon, and Norman Mailer's An American Dream. Through an investigation of biographical, historical, cultural, and textual evidence, I will argue for the influence of several European philosophers---Friedrich Nietzsche, Søren Kierkegaard, and Martin Heidegger---on these authors and on the structures and messages of their works. I will discuss how the specific works I have selected not only reveal each author's apt understanding of the existential-philosophical crises facing the individual in the twentieth century, but also reveal these authors' attempt to disseminate philosophic instruction on the "art of living" to their post-war American readers. I will argue that Fitzgerald, Hemingway, and Mailer address what they see as the universal philosophical crises of their generations in the form of literary art by appropriating and translating the existential concerns of existence to American interests and concerns. I will argue that Fitzgerald, Hemingway, and Mailer's emphasis on the individual's personal responsibility to first become self-aware and then to strive to see the world more clearly and truly reflects their own sense of responsibility as authors and artists of their generations, a point of view that repositions these authors as prophets, seers, healers, so to speak, of their times. Finally, I will discuss how, in An American Dream, Mailer builds on the Americanized existential foundations laid by Fitzgerald and Hemingway through his explicit invocation of and subtle references to the art and ideas of his literary-philosophic predecessors---Fitzgerald and Hemingway.

Abstract:

Orientador: Álvaro Luiz Hattnher
Banca: Maria de Lurdes Ortiz Gandini Baldan
Banca: Diana Junkes Martha Toneto
Resumo: Antônio de Alcântara Machado e Norman Rockwell são figuras representativas da produção artística das sociedades em que viveram. Machado engajou-se no modernismo brasileiro e inovou a narrativa do conto. Já Rockwell representou a cultura norte-americana por quase todo o século XX, sem utilizar, contudo, formas tão inovadoras como fez Alcântara. Esta dissertação de mestrado pretende analisar a existência de relações formais e temáticas entre os autores, ainda que haja poucas ligações artísticas, sociais ou econômicas entre eles. Valendo-se da teoria da intermidialidade e das funções da linguagem de Jakobson, busca-se estruturar um quadro comparativo e aumentar as possibilidades de leituras relativas a cultura e literatura expostas em parte da obra de Alcântara Machado e da de Norman Rockwell
Abstract: Antônio de Alcântara Machado and Norman Rockwell were representative figures when we think about Brazilian and American artistic production. Machado was engaged in the Brazilian modernism and innovated the narrative structure of short-stories. Rockwell, on the other hand, represented the American culture on his canvases for almost the entire twentieth century, without using, however, the same innovative way of production as Alcântara did. This dissertation aims to analyze the existence of formal and thematic links between those artists, even with few artistic, social or economic connection between them. Drawing on the theories about Intermidiality and Jakobson's functions of language, our intent is to structure a comparative panel and to increase the possibilities of readings related to culture and literature exhibited in the artistic production by Alcântara Machado and Normal Rockwell
Mestre

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Made available in DSpace on 2014-06-11T19:26:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-03Bitstream added on 2014-06-13T18:30:51Z : No. of bitstreams: 1souza_ccr_me_sjrp.pdf: 1040702 bytes, checksum: a573de64b7a05adb9b394d110a516835 (MD5)
Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Antônio de Alcântara Machado e Norman Rockwell são figuras representativas da produção artística das sociedades em que viveram. Machado engajou-se no modernismo brasileiro e inovou a narrativa do conto. Já Rockwell representou a cultura norte-americana por quase todo o século XX, sem utilizar, contudo, formas tão inovadoras como fez Alcântara. Esta dissertação de mestrado pretende analisar a existência de relações formais e temáticas entre os autores, ainda que haja poucas ligações artísticas, sociais ou econômicas entre eles. Valendo-se da teoria da intermidialidade e das funções da linguagem de Jakobson, busca-se estruturar um quadro comparativo e aumentar as possibilidades de leituras relativas a cultura e literatura expostas em parte da obra de Alcântara Machado e da de Norman Rockwell
Antônio de Alcântara Machado and Norman Rockwell were representative figures when we think about Brazilian and American artistic production. Machado was engaged in the Brazilian modernism and innovated the narrative structure of short-stories. Rockwell, on the other hand, represented the American culture on his canvases for almost the entire twentieth century, without using, however, the same innovative way of production as Alcântara did. This dissertation aims to analyze the existence of formal and thematic links between those artists, even with few artistic, social or economic connection between them. Drawing on the theories about Intermidiality and Jakobson’s functions of language, our intent is to structure a comparative panel and to increase the possibilities of readings related to culture and literature exhibited in the artistic production by Alcântara Machado and Normal Rockwell

Abstract:

In early 1971, a year before he abandoned the art world, the American art dealer and independent curator Seth Siegelaub (1941-2013) published The Artist’s Reserved Rights Transfer and Sale Agreement (ARRTSA) in New York. Its stated aim was to change the power relations on the art market more in favor of the artists. This study departs from the observation that despite being a seemingly ideal way to assert artist’s rights, ARRTSA has only been used by a few artists. While the reason for this reluctance has not been sufficiently researched, my study also shows that there is a lack of academic work that considers this area of research in art history. In order to shed light on this field I am using Fairclough’s theory and by applying his dialectical method of Critical Discourse Analysis, I examine the discourses in which ARRTSA is included as a particular discourse and event. The analysis of Siegelaub’s practice and position in combination with a close linguistic analysis of his introductory text highlights aspects and dimensions that have been previously occluded or under- acknowledged. The result of the analysis shows that the discourse stresses solidarity, insistence and consistency for artists and makes a moral appeal to collectors, but the text also reproduces the idiosyncratic energy and ambiguities that was surrounding his driven persona. I argue that despite all the purported benefits of ARRTSA, artists are instilled with a sense of uncertainty and risk, because it becomes apparent how informal and unregulated the art world is and how the art market-logic yields more power than the artist. Hence, the idea of pursuing artist’s rights through the use of written agreements remains largely unexplored.

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This study departs from the observation that since the late 1980´s educational programmes for curators have been established and since then expanded greatly. The programmes are part of a process of institutionalization and professionalization of the role of the curator within the international contemporary art field where the role as such has gained much power. Even though many statements have been made about this relatively new phenomenon of curatorial studies, there is a lack of sufficient research. The intention of this study is therefore to examine the educational programmes as such. The selection of 15 programmes has been made with the purpose to include early as well as newly established and to cover a wide geographic area. The starting point has been to ask what kind of knowledge and role of the curator the programmes are given prominence to. Using Michel Foucault´s and Norman Fairclough´s theory and methods on discourses I examine the programmes as a discursive practice. The analysis shows that there is a strong coherence within the field of the programmes and certain ideals, conventions and procedures are shared among them. The programmes are highly dependent on the professional field of curators – individuals as well as institutions are frequently being invited to lecture and support the students. The application procedures make sure that students who are willing to adopt to given ideals and norms, are being accepted. Furthermore the ideal role of the curator has been defined with the following concepts – new institutionalism, an expanded working field and discursive curating. The curator is highlighted as creative, critical and independent. These concepts have been singled out and made explicitly unique for the role of the curator by the programmes although aspects have clearly been taken from the role of the artist and the critics. The result has been a stronger competition between these positions. The programmes are institutions that promote the curator as an important and irreplaceable agent and to claim even a stronger position new assets have been singled out in the form of a theoretical and academic capital. Educational programmes included in the study: École du Magasin, Grenoble, Whitney Independent Study Program, New York, Curating Contemporary Art, Art Royal College of Art, London, De Appel Curatorial Programme, Amsterdam, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, MFA Curating, Goldsmiths, London, CuratorLab - Curatorial Program for Professionals in Arts, Crafts and Design, Konstfack, Stockholm, Curating Art - International Master Programme in Curating Art, including Management and Law, Stockholm university, Curatorial practice, California College of the Arts, San Francisco, Post-graduate Programme in Curating, Zürich University of the Arts, PhD-programme Curatorial/Knowledge, Goldsmiths, London, Cultures of the Curatorial, Academy of Visual Arts Leipzig, CuMMA - Curating, Managing and Mediating Art, Aalto University, Helsinki, PhD-programme Curating, Zürich University of the Arts in collaboration with the university of Reading, Praxis Master’s Programme, Finnish Art Academy, Helsinki.

Abstract:

The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with hom*osexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.

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Cette recherche-création effectuée dans le cadre d’études de deuxième cycle présente une analyse de l’adaptation télévisuelle récente de meurtriers fictifs notoires. Dans la première partie, un essai retrace la façon dont ont été transposés pour la télévision les personnages de Norman Bates (Psycho, 1960) et d’Hannibal Lecter (The Silence of the Lambs, 1991) ainsi que les mécanismes qui ont été déployés afin d’étoffer ces protagonistes et leurs forces d’action. Dans la deuxième partie, on présente la création d’une série télévisée librement inspirée du personnage de John Doe (Seven, 1995). Cette section décrit les différentes étapes du processus d’élaboration d’une œuvre télévisuelle, incluant la démarche d’adaptation, le sujet de la saison, la description des personnages, la structure narrative et les milieux de l’action, les résumés et synopsis des épisodes. Par la suite, un des épisodes a été scénarisé.

Abstract:

Varifrån kommer föreställningar om vad som är rätt eller fel, normalt eller onormalt? Hur har de uppstått och hur upprätthålls de? Syftet med den här uppsatsen är att undersöka hur sådana föreställningar kan uppstå och upprätthållas och att undersöka vilka sorts aktörer som är med i den processen samt hur de agerar och vad det bär med sig? Varifrån kommer till exempel föreställningarna om hur man ska bete sig för att uppfattas som en "normal" man eller kvinna? Vad händer när någon avviker från dessa normer och föreställningar? Jag har i min litteraturstudie funnit flera olika teoretiska perspektiv som är knutna till det vida begreppet kultur. Jag har närläst undersökningar där man kan studera hur norm, ideal och avvikelse, både i teorin och i praktiken, genererar normativa identiteter. De resultat jag har sett är att det görs skillnad på pojkar och flickor redan när barnen går på dagis. Denna åtskillnad att tjejer bland annat inte får ta för stor plats i det offentliga rummet eller höras för mycket eller att pojkar inte får bli för "lipiga" tar sin början innan barnen har en möjlighet att ta ställning till begreppen man eller kvinna. Både uppsatsen och gestaltningsarbetet fokuserar på strukturer som skapar och upprätthåller normativa eller "normala" identiteter. Mitt gestaltningsarbete består av en animerad film och kan ses som en parafras över bröderna Andy och Larry Wachowskis film The Matrix från 1999. The Matrix handlar om en man som upptäcker att den han värld han tror är verkligheten egentligen är en digitalt skapad "verklighet". I min film The Heterosexual matrix använder jag mig konsekvent av Judith Butlers resonemang kring den heteronormativa ordningen där förståelsen av kroppar och begär görs begripliga i utpekande av skillnader mellan könen. Huvudpersonen i min film upptäcker snart att den värld han tror är verkligheten bara är en skenvärld, en gång utvecklad av människan men som nu har tagit över och kontrollerar människan.
BI/Media

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Uppsatsen undersöker diskurs kring det postmoderna byggnadskomplexet Bofills båge på Södermalm i Stockholm, som uppfördes mellan 1989 och 1992. Med utgångspunkt i teorier om kritisk diskursanalys undersöks utsagor i tre artiklar och ett TV-inslag som behandlar projektet, samt det sammanhang som utsagorna och projektet befann sig i. Allmän teoretisk utgångspunkt är Michel Foucaults iakttagelser kring diskurs. Thomas A. Markus och Deborah Camerons tillämpning för arkitekturdomänen av Norman Faircloughs teorier om kritisk diskursanalys är teoretiskt och metodologiskt ramverk för undersökningen. Uppsatsen undersöker i ett inledande kapitel sammanhanget ur både ett allmänt internationellt och specifikt svenskt perspektiv. I följande kapitel undersöks utsagor i de tre artiklarna och TV-inslaget. Artiklarna och TV-inslaget undersöks var och en till form och innehåll och med bakgrund i sammanhanget. En avslu*tande diskussion sammanfattar och diskuterar tidigare kapitel, samt relaterar utsagorna till varandra och till sammanhanget. Det förs en diskussion om den modernistiska arkitekturvokabulärens, den svenska traditionens och det politiska perspektivets betydelse för det sammanhang utsagorna befann sig i.

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Libresse campaign #Bloodnormal aims to raise awareness about periods as a taboo subject. Similar to how Libresse is trying to make a change, more and more companies are starting to create norm breaking content. The question is how the public see these commercials. Do they think it is a method to get more brand authenticity or do they think it will make a real change? This study aims to investigate how young, female students experiences and discuss Libresse commercial “Blood Normal”. It will mainly focus on menstrual norms and the brand Libresse. To examine this we have used a reception method with qualitative interviews. By showing the respondents the film “Blood Normal” and later asking them questions, the method made it possible for us to see how the students interpret the film, the menstrual norms and the brand. The theoretical framework for this study is based on taboos, myths, studies on media effects and encoding/decoding. These theories helped us distinguish how the female students interacted and related to “Blood Normal”. By adding theories about legitimacy and corporate social responsibility we furthered examined how Libresse communicates and creates a relationship with their audience to strengthen their brand. The analysis showed that the respondents experienced menstruation as socially unacceptable in certain situations. They explained that “Blood normal” showed scenes that both mirrored and differed from their own experience of menstruation. It was also clear that they found the norm breaking content positive, which for the majority led to a higher trust in the brand. An important question for the respondents was that Libresse stood up for women, which could show that Libresse have a good knowledge about their target group. The commercials biggest effect on the respondents was in the end a bigger discussion about menstrual taboos, which for the majority also contributed to a higher trust for the brand.

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Mediala produktioner kan analyseras som delaktiga socialisationsagenter i individers identitetskonstruerande processer, genom att agera medaktörer i skapandet/befästandet respektive utmanandet av rådande och etablerade normer. De rollregister som erbjuds individer inom såväl mediala som pedagogiska rum, är ofta mycket stereotypa och signalerar hur vi som representanter för det ena eller det andra könet förväntas anpassas till på förhand givna och begränsande mallar. Individer som inte förmår eller önskar infogas i dessa betraktas inte sällan som normavvikelser alternativt osynliggörs till fullo. Dessas handlingsutrymmen och individuella förutsättningar till harmoniska liv riskerar därför att berövas, liksom rätten till desamma förebilder och möjligheter till identifikation som övriga samhällsmedborgare tar för givna. För att i enlighet med skolverkets direktiv uppnå ett jämlikt samhälle, inom vilket var individs människovärde kan betraktas som okränkbart, måste i pedagogiska rum rollmönster problematiseras, spektrat vidgas och människor ses som individer i första hand, snarare än man eller kvinna med föreskrivna förutsättningar och förväntade egenskaper. I detta arbete diskuteras heteronormativiteten inom såväl skola som kommersiell rörlig bild. Empiriskt underlag utgörs av litteratur- och källgranskningar, deltagande observationer i skolmiljö, samt enkätundersökningar/frågeformulär, vilka delats ut till elever och lärare vid Eriksdalsskolan och till unga vuxna som själva definierar sin identitet som hbt. Undersökningarnas resultat tyder generellt på en ökande medvetenhet kring medier som normbevarande, liksom verkande för hom*o- och bisexuellas rättigheter tillskrivits politisk korrekthet. Däremot speglas stundtals bristande reflektioner kring könsidentitet/könsuttryck. Didaktiska metoder finns tillhanda om bara förståelsen för vikten av denna diskussion kan uppnås. Gestaltningsarbetet (rörlig bild) utgör resultatet av visuella observationer och sammanställer ett urval av mediala representationer av hom*ooch bisexuella respektive transpersoner, i avsikt att framhäva rollmönstrens befästanden av betraktandet av dessa som normavvikelser. Då Konstfack kan betraktas som ett pedagogiskt rum, riktas arbetet i sin helhet i hög grad till studenter och lärare vid denna institution.
BI/Media

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I mitt examensarbete har jag undersökt vilka konflikter som gestaltas och förankras i tre bilderböcker. Jag har undersökt vilka normer som blir synliga genom dessa konflikter. Om normbrott leder till straff hur ser de då ut? Min empiri består av tre av de mest utlånade bilderböckerna på Stockholms stadsbibliotek 2007; Känner du Pippi Långstrump, Näpp! sa Alfons Åberg och Pricken. Som blivande konst- och mediepedagog funderar jag över bilders medverkan, hur saker som gestaltas och visualiseras har del i skapandet av jaget. Jag har använt semiotiken som metod i mitt arbete, genom dess begrepp har jag delat upp bilden i dess beståndsdelar för att få en inblick och djupare förståelse i vad bilden vill säga. Bilderboken som riktar sig till små barn förväntas ofta ha en underhållande men även moraliskt uppbygglig funktion. I min undersökning har jag satt konflikten i fokus och har, utifrån den sociokulturella teorin och Foucaults teorier kring den disciplinära makten, undersökt bilderboken som verktyg för socialisation. I de här tre böckerna kretsar konflikterna kring makt och normer. Normbrott leder till olika konsekvenser som illustratören ger sina karaktärer, genom detta externaliseras vår kulturs syn på vilket beteende som uppmuntras och vilket som ska korrigeras. På så sätt blir barnet tidigt medvetet om vad som anses vara ett lämpligt beteende.
BI/Media

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Esta pesquisa inscreve-se no cenário da formação inicial com alunas de Curso Normal com idade de 14 a 18 anos, de uma escola de internato situada no município de Estrela, interior do estado do Rio Grande do Sul. O principal objetivo da pesquisa foi propor um experimento com essas alunas, fazendo uso da escrita de cartas e da arte contemporânea, a partir de experiências minhas, na vida escolar e profissional. Para tanto, ofereci oficinas sobre escrita como uma maneira de convidar as alunas a pensar sobre os processos de formação, na escola e na vida. Utilizei-me das discussões a respeito do cuidado de si estudado por Foucault, as relacionando em alguns momentos com as teorizações trazidas por Nietzsche. Foram realizados 11 encontros entre 2010 e 2011, organizados a partir de exercícios de escrita, como também da recepção de obras de artistas contemporâneos que trabalham com a escrita, tais como León Ferrari, Mira Schendel, Elida Tessler e Jorge Macchi. Estes encontros tornaram-se um espaço de conversa e pensamento sobre si mesmo e de intensificação das relações sociais no âmbito da formação inicial docente. O corpo empírico do trabalho compõe-se das cartas produzidas pelas alunas (cartas-vontade a partir da história “A bolsa amarela”, cartas a partir de obras dos artistas contemporâneos analisados e cartas-avaliações produzidas no último encontro), como de anotações em um diário de campo e as escritas de um diário coletivo, realizadas a cada encontro por uma aluna diferente. A análise dos materiais aconteceu a partir de relações tecidas a partir das potencialidades das escritas produzidas, a saber: (Re)pensar alguns modos de ser e olhar pelas misturas em arte e escrita (artescrita), possibilidade de deslocamentos e recomposições de si. Neste trabalho, situa-se a prática de escrita na proximidade do cuidado de si e as oficinas como espaço de experimentação que pretende problematizar algumas verdades sobre os modos de ser professor, aluno e adolescente buscando transformar estas verdades, em princípio racional, criando um estilo próprio de vida. Convida-se a pensar, na arte contemporânea como uma técnica do cuidado de si, aprender com os artistas a (de)compor a composição da escrita utilizada normalmente na escola, deslocar algumas naturalidades nos modos de pensar, e pensar outras maneiras para se compor reinventar-se, ainda que sem garantias, favorecendo o pensar sobre si, sobre os outros numa tentativa incansável de desfocar o olhar, a fim de empreender um projeto ético de estar atento as próprias ações. Uma maneira de constituir-se sujeito e professor, com a possibilidade de inúmeras composições.
This research is part of the stage of initial training in the Teaching Profession Course students aged 14-18 years in a boarding school located in the city of Estrela, the state of Rio Grande do Sul . The main objective of this research was to propose an experiment with these students, making use of letter writing and contemporary art, from my experiences in school and professional life. To this It was offered workshops on writing as a way to invite the students to think about the processes of formation, in school and in life. I drew the discussions about the care of oneself, studied by Foucault, relating them in some moments with the theories brought by Nietzsche. Eleven meetings were held between 2010 and 2011, arranged from writing exercises, as well as the reception of works by contemporary artists who work with writing, such as León Ferrari, Mira Schendel, Elida Tessler and Jorge Macchi, in an area of talking and thought about yourself and intensification of social relations in the context of initial teacher training. The empirical body of work consists of the letters produced by the students (letters-will from the story "The yellow bag," Letters from the works of contemporary artists analyzed and letters-assessments produced at the last meeting), as notes in a diary and writings of a collective diary, held every other meeting by a different student. The analysis of the materials came from relationships made regarding the potential of the records produced, namely: (Re) thinking in some ways of being and look for mixes art and writing (written art), possibility of dislocation and shifts yourself. In this paper, stands out the practice of writing in the proximity of self-care and workshops as a space of experimentation that intend to discuss some truths about the ways of being a teacher, student, youth, seeking to turn these truths in rational principle, creating an own life style. You are invited to think, in contemporary art as a technique of self-care, learning from the artists (de) compose a written composition normally used in school, to dislocate some naturalities in ways of thinking, and thinking about other ways to compose reinvent itself, even without guarantees, favoring the think about yourself, about others in a restless attempt to blur the gaze in order to undertake an ethical project to be aware to the own actions. One way to constitute subject and teacher, with the possibility of numerous compositions.

Abstract:

Purpose - This thesis investigates how London art museums work to deconstruct heteronormative filters. The aim is to study how museums relate to LGBTQ content, and the influence of internal power structures. I have chosen to focus on the Victoria & Albert Museum, the Wallace Collection, and the British Museum. Method - To answer my questions, I interview eight individuals who work with LGBTQ content in museums. I am also doing some activity-based observations during several LGBT History month events. Analysis - The qualitative data collected through interviews and observations will be analyzed and presented in case studies. I apply an intersectional perspective, and a critical theoretical method, encompassing queer theory. Findings - The findings show that museums are slowly incorporating more LGBTQ content and perspectives. This may be due to changing social norms as well as a conscious effort to address various target audiences to diversify visitor demographics. The current focus is on visibility. Ideally, this will encourage updating terminol- ogy in databases and galleries, staff training, policies explicitly supporting LGBTQ content and LGBTQ staff, increased online presence, publications, and community co-creation, to name some aspects. Museums still think of LGBTQ interpretation as optional. People often work with these efforts in their spare time. Increasingly, the legacy of these events is being evaluated, as well as how museum terminology can become more inclusive. There are no coordinated efforts shared by the museums, but they often look to each other for inspiration. Originality/value - Previous research on LGBTQ museum projects has not evaluated their legacy. There hasn't been any particular focus on LGBTQ perspectives in art museums. I am taking into account aspects of gender and queer theory, discussing the act of labelling as a means to exercise power through language. Paper type - Two years master's thesis in Archive, Library and Museum studies.
Syfte - Syftet med denna uppsats är att undersöka och jämföra de insatser som tre konstmuseum i London, Stor- britannien, gör för att dekonstruera heteronormativa filter. Målet är att observera hur olika museum jobbar med HBTQ som tema och innehåll. Jag studerar vem det är som initierar normkritiska projekt på museerna, samt de maktstrukturer som projekten anpassar sig efter. Metod - Jag intervjuar åtta individer som på olika sätt jobbar med HBTQ på museum. Därtill företar jag mig ett antal aktivitetsbaserade observationer. Analys - De kvalitativa data som insamlats genom intervjuer och observationer analyseras utifrån ett intersek- tionellt perspektiv. Teori och metod inspireras även av kritisk kulturteori samt queerteori. Resultat - Resultaten visar bland annat att samhälleliga förändringar och besökarfokus öppnar upp för HBTQ- teman på museer. Synlighet ligger för närvarande i fokus. Detta kan utvecklas till arbete med t.ex. normkritisk personalutbildning, uppdaterade museipolicydokument som inkluderar HBTQ-fokus och skyddar HBTQ- personal, mer inklusiva etiketter och databaser, samt medskapande i dialog med olika sociokulturella grupper. Värde - Tidigare forskning fokuserar på teoretiska utgångspunkter, och har sällan utvärderat existerande HBTQ- museumprojekt. Konstmuseum och HBTQ har inte heller specifikt utvärderats utifrån ett normkri- tiskt/intersektionellt perspektiv som involverar kritisk teori och queerteoretiska aspekter. Typ av uppsats - Tvåårig masteruppsats inom Arkiv-, biblioteks-, samt musei- och kulturarvsvetenskap.

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Thesis (M.F.A.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-01

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Dans le Royaume de Sicile, le patronage religieux entrepris par les femmes des dynasties normande et Hohenstaufen sous-tend la question de l'affirmation de l'individu dans la société médiévale. Comme dans les représentations iconographiques des reines et des princesses, ces actions mettent l'accent plus sur le pouvoir de la dame aristocratique que sur son appartenance au genre féminin. Mais le patronage féminin est aussi lié à la question de la mémoire du lignage; l'individu se définissant par rapport à un groupe formé de morts et de vivants, la commémoration des ancêtres disparus participe aussi à la création d'un mémoire aristocratique véhiculée par les femmes. / In the Realm of Sicily, the religious patronage begun by the women of the dynasties Norman and Hohenstaufen underlies the question of the assertion of the individual in the medieval society. As in the iconographic representations of the queens and the princesses, these actions emphasize more the power of the aristocratic lady than her membership in the feminine genre.But the feminine patronage is also connected to the question of the memory of the nobility; the individual defining itself with regard to a group formed by deaths and by alive, the remembrance of the disappeared ancestors also participates in the creation of an aristocratic report conveyed by the women.

Abstract:

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Competitive Strategy literature predicts three different mechanisms of performance generation, thus distinguishing between firms that have competitive advantage, firms that have competitive disadvantage or firms that have neither. Nonetheless, previous works in the field have fitted a single normal distribution to model firm performance. Here, we develop a new approach that distinguishes among performance generating mechanisms and allows the identification of firms with competitive advantage or disadvantage. Theorizing on the positive feedback loops by which firms with competitive advantage have facilitated access to acquire new resources, we proposed a distribution we believe data on firm performance should follow. We illustrate our model by assessing its fit to data on firm performance, addressing its theoretical implications and comparing it to previous works.

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Texte remanié de: Th. Ph. D.--New Haven (Conn.)--Yale University, 1990. Titre de soutenance : Exploring a medieval kingdom of mystery: the Norman kindom of Sicily and its administration.
Bibliogr. p. 229-261. Index.

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This project involves the review of suicide postvention plans across school districts in California. The goal is to identify which elements are meet the recommendation, address the recommendations or do not include the recommendations for best practices in suicide postvention. This has been done by analyzing the plans across five components: preparation, identification and support for immediate needs, triage, identification and support for long term needs and a return to a new normal. Consideration was given to the format in which the plans were developed: websites, school safety plans, emergency operations plans, crisis response plans and suicide response plans. Through analyzing the plans, this research identifies the lack of preparation of schools to engage in postvention activities after a suicide.

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Master of Science
Department of Statistics
Paul I. Nelson
The variance of a response in a one-way random effects model can be expressed as the sum of the variability among and within treatment levels. Conventional methods of statistical analysis for these models are based on the assumption of normality of both sources of variation. Since this assumption is not always satisfied and can be difficult to check, it is important to explore the performance of normal based inference when normality does not hold. This report uses simulation to explore and assess the robustness of the F-test for the presence of an among treatment variance component and the normal theory confidence interval for the intra-class correlation coefficient under several non-normal distributions. It was found that the power function of the F-test is robust for moderately heavy-tailed random error distributions. But, for very heavy tailed random error distributions, power is relatively low, even for a large number of treatments. Coverage rates of the confidence interval for the intra-class correlation coefficient are far from nominal for very heavy tailed, non-normal random effect distributions.

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Thesis (Ph.D.)--Tufts University, 2001.
Adviser: Marjorie G. Hahn. Submitted to the Dept. of Mathematics. Includes bibliographical references (leaves44-46). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

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O presente trabalho busca apresentar a obra de Winckelmann num amplo recorte de textos que contribuem para que vejamos a unidade de seus trabalhos; indicando os avanços dados pelo autor desde os primeiros escritos até a sua obra mais acabada, a História da arte da antiguidade (Geschichte der Kunst des Altertums). A abordagem dos textos aqui selecionados visa apresentar a estruturação do pensamento de Winckelmann desde suas obras seminais até o seu ponto de maior contração conceitual. Esse caminho, a despeito de mudanças e progressos, nos mostra um crescimento, em boa parte coerente, da visão das artes e dos conceitos que dela são extraídos, na medida em que crescem os objetos contemplados. Visamos apresentar a formação de uma história que é, em grande parte, estética e que transfere a carga conceitual daquilo que se pode pensar como a ideia para o modelo plasmado da arte grega. Dos primeiros textos do autor à sua principal obra, o trajeto em direção à antiguidade vai trazer à tona questões que foram fundamentais para a disciplina filosófica da estética. Vemos formarem-se estruturas de abordagem da arte e de sua história que serão sempre subsidiárias da relação direta com o objeto. É na leitura de textos que melhor apresentam esse trajeto que se expõe a formação de um modo de operar que consegue extrair conceitos da obra de arte e suas consequências que baseamos o todo desse trabalho. Sua história, em sendo uma estética, teve desdobramentos dos mais diversos e marcou o debate que relacionava as artes com a filosofia e a história no século XVIII.
This thesis is an enquiry of Winckelmanns works that aims to the presentation of the structures of seeing that had arose as an approach to the works of art and that became the conceptual basis of a history of art that is in fact an aesthetical construction. From his first works, that had been written when the author was a librarian at Nöthnitz to the main works of the roman period, we tried to show a path that is to be thought as attached to the work of art, a contemplation of the arts that does not make great moves without the direct experience of beauty. Beauty comes from the transcendence of a norm to be embodied in the immanence of some works of ancient art that have reached the conceptual beauty in the materiality of the earthly world. The way of doing that, has been constructed, with a surprisingly coherence of some aspects of his theory and with some paradigm changes around the possibilities of seeing. In the major work History of the art of antiquity the tools that were to be acquired in a sort of relationship with the arts of the past that allows the spectator to see towards the embodied surface of the work of art are linked to a dynamics of historical possibilities that arose in the internal movements of societies but the criteria that elects the works is always to be thought as an aesthetic movement. Winckelmann, as an art thinker, established some movements of seeing and concepts that were in the basis of the newborn discipline of aesthetics. His history is as an aesthetics in form of history, and the consequences of that were proliferous, as can be seen in the flourishing debates of the binding of art, philosophy and history in the end of the eighteenth century.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Apr. 25, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Economics." Discipline: Economics; Department/School: Economics.

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étant donne que les constitutions ecrites ne sont pas des oeuvrescompletes, elle ne contiennent que le fondamental et laissent le travailcomplementaire aux lois, qui s occuperont des details et permettront l adaptationaux progres sociaux. mais une constitution qui laisse trop de matieres emattente de complement legislatif court le risque de devenir lettre morte, paromission du legislateur, qui n elabore pas les lois necessaires pour lui donner sapleine efficacite, frustrant par la-meme tous ceux qui crurent en elle. pour eviterque les droits et garanties fondamentaux ne subissent pareil sort, on a insere al article 5, § 1º de la constitution federale de 1988 une regle selon laquelle lesnormes qui les definissent sont d application immediate, ce qui les place dansune position de super-droits, si on les compare aux autres. la premiereconstitution a contenir une norme semblable fut la loi fondamentale de bonn de1949, suivie, dans la decennie de 60, par les constitutions du venezuela (1961),du paraguay et de l uruguay (1967), du portugal (1976) et d espagne (1978).dans la decennie de 90, une norme semblable est apparue dans les constitutionsde slovenie (1991), de russie (1993), d ukraine (1996) et de pologne (1997).certaines constitutions provinciales, comme celles e neuquen et de la terre defeu en argentine, contiennent egalement une regle semblable. du fait qu ilsconstituent l essence de la constitution, les droits et garanties fondamentauxjouissent d un status superieur aux autres. la signification reelle de ce dispositif afait l objet de controverses, surtout autour de son application aux droitsfondamentaux de prestation, qui figurent particulierement au rang des droitssociaux, non seulement pour les ouvriers (art. 7 a 11), mais aussi pour lesautres personnes, mentionnes a l art. 6 mais renvoyes a d autres chapitres,comme les droits a la sante, a l education, a la securite sociale, entre autres. lacontroverse concerne deux points essentiels: le premier est du au fait que,malgre l utilisation expresse de l expression "droits fondamentaux" au lieu de"droits individuels", la norme figure dans un paragraphe de l art. 5, qui ne listepas tous les droits fondamentaux, mais uniquement "des droits et devoirsindividuels et collectifs" ; le second est independant du locus constitutionnel,mais considere l existence de droits fondamentaux qui se realisent par la simpleimposition d un comportement negatif vis-a-vis de la partie opposee état ouparticuliers -, tandis que d autres, sans nier ces droits, exigent la realisationd actes materiels, comme la construction d ecoles ou de centres de sante ou ladisponibilite d argent pour couvrir les depenses de la securite sociale. poureclaircir le dispositif et trouver sa signification reelle et ses implications parrapport aux destinataires des droits fondamentaux et a ceux qui doivent lesrendre effectifs, nous avons cherche, dans le present travail, a etablir unedistinction entre droits et garanties fondamentaux, droits individuels et droitscollectifs et entre ceux-ci et les droits sociau x. à la fin, nous avons conclu que lanorme analysee ne prete pas efficacite juridique a celles qui, par dispositionconstitutionnelle expresse ou par simple impossibilite de preciser leur portee,dependent d une mediation legislative reglementatrice ou d une interventionadministrative de type patrimonial, comme il arrive generalement dans le casdes droits a prestations positives. nous avons egalement conclu que les normesconstitutionnelles qui definissent des garanties, du fait qu elles traduisent desdroits de la defense, ne sont jamais dependantes, meme si elles admettent unereglementation; aussi jouissent-elles toujours de l efficacite la plus large, maiselles peuvent voir leur portee reduite
Não sendo obras completas, é normal que as constituiçõesescritas contenham apenas o fundamental, deixando a complementação paraas leis, as quais a detalharão e possibilitarão a adaptação aos avançossociais. Mas, uma constituição que deixa demasiado número de matérias aespera de complementação legislativa corre o risco de se tornar letra morta,por omissão do legislador, que não elabora as leis necessárias para lhe dar aplena eficácia, frustrando todos os que nela acreditaram. Para evitar issoquanto aos direitos e garantias fundamentais, inseriu-se no art. 5º, § 1º, daConstituição Federal de 1988, regra de que as normas que os definem têmaplicação imediata, o que os colocando em posição de superdireitos, secomparados com os demais. A primeira Constituição a conter normasemelhante foi a Lei Fundamental de Bonn, de 1949, seguindo-se, na décadade 60, as constituições venezuelana (1961), paraguaia e uruguaia (1967),portuguesa (1976) e espanhola (1978). Na década de 90, norma semelhanteapareceu nas constituições eslovena (1991), russa (1993), ucraniana (1996)e polonesa (1997). Algumas constituições provinciais, como as de Neuquen eTerra do Fogo, na Argentina, também contêm regra semelhante. Porconstituir a essência da constituição, os direitos e garantias fundamentaisgozam de status superior em relação aos demais. O real significado dessedispositivo tem sido objeto de controvérsias, especialmente acerca de suaaplicação quanto aos direitos fundamentais prestacionais, particularmenteencontradiços no rol dos direitos sociais, não somente quanto aostrabalhadores (arts. 7º a 11), mas também quanto aos demais, mencionadosno art. 6º, porém remetidos para outros capítulos, como os direitos à saúde,educação, previdência social, entre outros. A controvérsia reside em doispontos básicos: o primeiro, porque, a despeito da expressa utilização daexpressão "direitos fundamentais", em lugar de "direitos individuais", anorma consta de um parágrafo do art. 5º, que não veicula todos os direitosfundamentais, mas apenas "direitos e deveres individuais e coletivos"; osegundo independe do locus constitucional, mas considera a existência dedireitos fundamentais que se realizam pela simples imposição decomportamento negativo em face da parte contrária Estado ou particulares-, enquanto outros, sem negar esses, exigem a realização de atos materiais,como a construção de escolas ou centros de saúde ou a disponibilidade dedinheiro para custear a previdência social. Para aclarar o dispositivo eencontrar seu real significado e implicações frente aos destinatários dosdireitos fundamentais e àqueles que devem efetivá-los, buscou-se, nestetrabalho, distinguir entre direitos e garantias fundamentais, direitosindividuais e direitos fundamentais, direitos individuais e direitos coletivos eentre estes e direitos sociais. Ao final, concluiu-se que a norma analisadanão empresta eficácia jurídica às que, por expressa disposição constitucionalou por simples impossibilidade de se precisar seu alcance, dependem deintermediação legislativa regulamentadora ou intervenção administrativa decunho patrimonial, como geralmente ocorre com os direitos a prestaçõespositivas. Concluiu-se também que as normas constitucionais que definemgarantias, por traduzirem direitos de defesa, nunca dependem, emboraadmitem regulamentação, por isso sempre gozam da máxima eficácia, maspodem ter o alcance reduzido

Abstract:

In the Basin and Range province of southwestern North America, Oligocene and Miocene normal faults are superimposed upon the Late Cretaceous-early Tertiary magmatic arc. This study examines tilted fault blocks containing dismembered pieces of porphyry systems, including pieces below and peripheral to ore bodies, that are exposed at the modern surface. Features in the magmatic-hydrothermal porphyry systems are used to place constraints on the style of extension in Arizona, and reconstructions of extension are used to examine the deep and peripheral portions of porphyry systems to provide a more complete understanding of porphyry systems as a whole. The Eagle Pass, Tea Cup, and Sheep Mountain porphyry systems of Arizona are examined in this study. In all the study areas, previous interpretations of the style of extension involved strongly listric normal faults. However, similar amounts of tilting observed in hanging wall and footwall rocks, as well as structure contour maps of fault planes, require that down dip curvature on faults was minimal (<1°/km. Instead, extension is shown here to have occurred as sets of nearly planar, "domino-style" normal faults were superimposed upon one another, including in the Pinaleño metamorphic core complex. Reconstructions of Tertiary extension reveal that sodic (-calcic) alteration is occurs 2-4 km peripheral to, and greisen alteration is found structurally below and overlapping with, potassic alteration. In addition, a preliminary reconstruction of extension across the Laramide magmatic arc reveals that the geometry, as revealed by known porphyry systems, is of similar scale to that of other magmatic arcs. These results help further the debate surrounding competing models of continental extension, and combine with previous work to provide a more complete understanding of the geometries of Arizona porphyry systems at the district and arc scale.

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Thesis (M.A.)--Indiana University, 2008.
Includes vitae. Department of Philosophy, Indiana University-Purdue University Indianapolis (IUPUI) Advisor(s): Peter H. Schwartz. Includes bibliographical references (leaves 61-66)

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Based on the epistemological premise of the Logical Semantic Constructivism (CARVALHO,2010), the present study proposes to reflect about the incidence of the constitutional rulewhich restrain the demarcation of indigenous lands. It seeks for the meaning of the signs:Indian, Indigenous Community and Indigenous Lands, in the statements of art. 231 caput, §§§1, 2 and 3 and art. 20, XI, from the Federal Constitution, considering the connotation of thesesigns in the social, cultural and historical context of Indians. The study also handles the matterof demarcation of indigenous lands in the current state of the art, being strongly influenced bythe theory of John Mendes Jr. (1912) on indigenato, as well as making a counterpoint withFerraz Jr. s (2007; 2012) discussion, which contemplates indigenato as a title that explains theIndians originating status of the right to permanent possession, although not limited to this. Itdiscusses the relevance of the legal precedent of the Supreme Court, as a pragmatic dimensionof linguistic semiosis on the fixed rules of the statements in art. 231 caput, §§§ 1, 2 and 3 andart. 20 XI, in the Federal Constitution, that is, as a text not written in the physical support ofprescriptive statements, but that cannot have its meaning ignored as real technical legitimacy.From the perspective of the epistemology proposed by Paulo de Barros Carvalho (2010) onthe incidence of general and abstract tax norm, it proposes a hermeneutics of the incidence ofthe rule, which is constructed through the interpretation of the statements of the art. 231caput, §§§ 1, 2 and 3 and art. 20 XI, from the Federal Constitution. The demarcation ofindigenous lands is denoted in the present research as a procedure and as a sole and specificrule that enables the incidence of general and abstract rule laid down in art. 231 caput, §§§ 1,2 and 3 and art. 20 XI, from the Federal Constitution. One may conclude that the individualand solid rule that documents the demarcation has a legal effect on subjective and originatingrights of the Indians of permanent possession of the lands they traditionally occupy. It hasbeen defined The existence of two legal systems in relation to the land known as traditionallyoccupied by demarcation: the regulatory legal framework of the legal relationship between"non-Indians", which precedes the advent of sole and specific rule documented in thedemarcation, and the legal regime subsequent to the formation of subjective originating rightsof "Indians", in the subsequent individual and solid rule. Individual and solid rules that makeup the property right of "non-Indians" are repealed before the advent of individual and solidrules documented in the demarcation, therefore, the extinction of these legal relations has exnunc effects and shall be harmonized with the rules of items XXII, XXIV of art. 5 of theFederal Constitution. After the advent of individual and solid rule of demarcation, the legalframework is set out in § 6 of art. 231 of the Federal Constitution, as a means of protectingthe Indians original right to possession
Propõe-se uma reflexão sobre a incidência da norma constitucional que disciplina ademarcação de terras indígenas, com base na premissa epistemológica do ConstructivismoLógico Semântico de Paulo de Barros Carvalho. Buscamos o sentido dos signos índio,comunidade indígena e terras indígenas nos enunciados do art. 231 caput, §§§ 1º, 2º e 3º e art.20, XI, da CF, levando em consideração o sentido destes signos no contexto social, cultural ehistórico do índio. Abordamos a problemática da demarcação de terras indígenas no estadoatual da arte, fortemente influenciado pela teoria do indigenato de João Mendes Jr., fazendoum contraponto com o entendimento esposado por Tércio Sampaio Ferraz Jr., quecompreende o indigenato como um título que explica o caráter originário do direito à possepermanente dos índios, mas que não se reduz a este. Discorremos sobre a relevância doprecedente jurisprudencial do Supremo Tribunal Federal, como dimensão pragmática dasemiose linguística da norma construída a partir dos enunciados do art. 231 caput, §§§ 1º, 2º e3º e art. 20 XI da CF, ou seja, como texto não escrito no suporte físico dos enunciadosprescritivos, mas que não pode ser ignorado, na busca de sentido, como verdadeira técnica delegitimação. Propomos uma hermenêutica sobre a incidência da norma, que se constrói pelainterpretação dos enunciados do art. 231 caput, §§§ 1º, 2º e 3º e art. 20 XI da CF, sob aperspectiva da epistemologia proposta por Paulo de Barros Carvalho para a incidência danorma geral e abstrata tributária. Abordamos a demarcação de terras indígenas, comoprocedimento e como norma individual e concreta que viabiliza a incidência da norma geral eabstrata prevista no art. 231 caput, §§§ 1º, 2º e 3º e art. 20 XI da CF. Concluímos que a normaindividual e concreta que documenta a demarcação tem o efeito constitutivo do direitosubjetivo originário dos índios à posse permanente das terras que tradicionalmente ocupam.Delimitamos a existência de dois regimes jurídicos em relação às terras que são reconhecidascomo ocupação tradicional pela demarcação: o regime jurídico regulador das relaçõesjurídicas, entre não índios , anteriores ao advento da norma individual e concretadocumentada na demarcação e o regime jurídico posterior à constituição do direito subjetivooriginário dos índios no consequente da norma individual e concreta. Anteriormente aoadvento da norma individual e concreta documentada na demarcação, as normas individuais econcretas que constituem o direito de propriedade de não índios são revogadas, de modoque a extinção dessas relações jurídicas tem efeitos ex nunc e devem ser harmonizadas com asnormas dos incisos XXII, XXIV do art. 5º, da CF.Após o advento da norma individual econcreta da demarcação, o regime jurídico a incidir é o previsto no § 6º, do art. 231, da CF,como um meio de proteger o direito originário à posse dos índios

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Aim: The aim of this research was to measure functional intraoral pressures using a newly developed method; specifically, three areas were examined. Firstly, this new approach to measurement allowed the equilibrium theory of tooth position to be re-addressed. Secondly, it allowed investigation the patterns of pressure change in the palatal midline during water swallowing. Lastly, this approach allowed a preliminary investigation of the affect of the viscosity of the food ingested on the pressures generated in the mouth. Methods: The participants were 6 healthy volunteers (4 males, 2 females) recruited from the post-graduate students at the University of Otago, School of Dentistry. The age range was 25 to 35 years. All had full permanent dentitions, Angle Class I occlusions (normal) with acceptable overbite and overjet relationship, and none of them had a history of previous orthodontic treatment. For each of the subjects a cast chrome-cobalt baseplate was constructed to house 8 miniature strain gauge pressure transducers (Precision Measurement Co. Michigan). The location of the sensors were standardised as follows: Three sensors were paired on the buccal and lingual surfaces of the central, canine and first molar. Two palatal vault sensors were placed in the midline of the palate, one at level of the distal of the first premolar, and the second slightly anterior to the junction of the hard and soft palate. Simultaneous recordings were taken during a set of tasks including water swallows, saliva swallows and food ingestion. Results: The results showed that swallowing was a highly complex wellcoordinated event, and that each individual had their own unique signature pattern of swallowing, characterised by pressure changes of high frequency, in excess of �1000 kPa/s. Conclusions: The analysis of the pressure acting on the teeth showed that although the pattern and magnitude of pressure generated varied among the group, the observation of waveforms would suggest a tendency for no inherent balance between the buccal and the palatal pressures on the teeth during swallowing for any of the individuals tested. This investigation of the pressure in the midline revealed an aspect previously not fully explored; these experiments showed that there were large and persistent negative pressures generated during swallowing, that preceded the positive pressures and which appear important in bolus propulsion The patterns of swallowing and the magnitudes of pressure generated, changed with the different consistency of the various substances ingested. There was a general trend for increased pressures during swallowing of substrates that are more viscous; water showed the lowest pressures, followed by saliva and finally jelly. Keywords: Tongue pressure, Intraoral pressures, Tongue dynamics, Swallowing.

Abstract:

This study investigates the use of response guidance for errorless learning of a perceptual motor task in normal elderly. It provides normative data for a study with stroke patients using this technique for cognitive rehabilitation. While errorless learning has been shown to be more effective on most tasks than trial and error learning for people with memory impairments, its use with normal individuals has received limited attention. The questions of interest were whether errorless training of the perceptual motor task was more effective for improving and retaining accuracy; and whether both accuracy and response speed were more resistant to the effects of increased cognitive demands. A sample of 43 normal elderly in the United Kingdom, ranging in age from 60 to 77, completed an assessment of intelligence, memory, and attention. They then received training, over two sessions one week apart, to mark the midpoint of Judd Arrows presented on a computer screen using a cross cursor moved by an active force feedback joystick (AFF). During training the errorless group received AFF guidance to the correct midpoint, while the errorful group received none, and both received auditory and visual knowledge of results. There was no AFF during baseline or post test measures. Training was to criterion in each session with a discontinue rule if accuracy did not improve. At the end of session two both groups were given a cognitively challenging task concurrent with the arrow bisection. Results revealed that both groups improved their accuracy through training with the errorless group being significantly more accurate and tending to be faster in the final post tests of both sessions. The errorless group was significantly faster than the errorful group under the cognitive challenge, without sacrificing accuracy. These results suggest not only that AFF is an effective means of implementing errorless perceptual motor learning, but elderly individuals trained in this manner do not sacrifice accuracy for speed. Implications of these results are discussed.