Dissertations / Theses on the topic 'The definition of art'

Numerous theories have attempted to overcome the anti-essentialist scepticism about the possibility of defining art. While significant advances have been made in this field, it seems that most modern definitions fail to successfully address the issue of the ever-changing nature of art raised by Morris Weitz, and rarely even attempt to provide an account which would be valid in more than just the modern Western context. This thesis looks at the most successful definitions currently defended, determines their strengths and weaknesses, and offers a new, cultural definition which can preserve the good elements of other theories, solve or avoid their problems, and have a scope wide enough to account for art of different times and cultures. The resulting theory is a synthetic one in that it preserves the essential institutionalism of Dickie's institutional views, is inspired by the historical and functional determination of artistic phenomena present in Levinson's historicism and Beardsley's functionalism, and presents the reasons for something becoming art in a disjunctive form of Gaut's cluster account. Its strengths lie in the ability to account for the changing art-status of objects in various cultures and at various times, providing an explanation of not only what is or was art, but also how and why the concept 'art' changes historically and differs between cultures, and successfully balancing between the over-generalisations of ahistorical and universalist views, and the uninformativeness of relativism. More broadly, the cultural theory stresses the importance of treating art as a historical phenomenon embedded in particular social and cultural settings, and encourages cooperation with other disciplines such as anthropology and history of art.

Defining art has been one of philosophy of art’s biggest projects. However, no definition offered has achieved to account for all objects we consider art. In this paper, I argue that normative dualism, an unjustifiable Western prejudice for the mental, plays a big part in this failure. The division between fine art and utilitarian and “low” art has been perpetuated because the former is associated with the mental processes involved in its appreciation and, thus, considered more valuable. Theories of art also tend to exclude production (a physical process), concentrating mostly on the appreciation of art (a mental process). Ridding theory of the bias of normative dualism, by abolishing the division that sets fine art apart as more valuable and writing theory that takes art production into consideration, is the only way art theory will succeed in accurately describing art objects.

This thesis explores the possible resolution of colliding autonomous architectural entities. The manifestation of this resolution occurs in the design of an art museum that utilizes the memory of the Victorian national spirit. The realization of this program underlies the author's continued pursuit to define the entities of boundary and threshold. This entire enquiry is presented through the utilization of photographs, drawings, and supporting text.
Master of Architecture

Since the turn of the millennium, the term 'sound art' has gained increasing prominence while generating persistent discussion and debate. This study explores questions surrounding the definition of sound art through an analysis of these discourses. It also applies a Foucauldian notion of discourse to the concept of genre in order to promote a non-essentialist definition of sound art that is pursued through a project of clarification rather than classification. The research draws from a wide range of sources, from online symposia, magazine articles and publications to art exhibitions and their materials, to expose some of the conflicting and convergent representations of sound art within the artworld. Critical analysis of key ideas and themes identified in this source material is supported through reference to the history and theory of art and music as well as genre and culture. Sound art is an ambiguous and mutable concept that shares concerns with other forms such as experimental music and sonic art but has also developed specific generic meaning. Despite an apparent reluctance to define sound art, the category plays an active and important role within the institutions, industries and academies of the artworld. High-profile survey exhibitions such as Sonic Boom (Hayward Gallery, London, 2000) and Volume (MoMA PS1, New York, 2000) have been a major contributing factor to the growth but also uncertainty of sound art's discourse due to their idiosyncratic and inconsistent representations of the genre and the ways in which sound challenges artistic traditions of display. They also highlight ideological tensions relating to the categorisation of contemporary art in postmodernity, which is rooted in modernist concepts of media, in showing how sound art simultaneously invites and resists definition. Sound art is typically concerned with issues of sound, space and perception. There are many competing interpretations of these definitional ideas, however, arising from a simultaneous association with and differentiation from the traditions of music and the visual arts. The ensuing institutional battle of territories and phenomenological battle of the senses pulls towards and away from the visual respectively. This unique cluster of tensions underpins the discourse of sound art and affords a categorical porosity and liminality that ultimately characterise it. Issues of definition are therefore central to the identity of sound art. An in-depth understanding of the ontological debates and dialectics within its discourse not only draws attention to sound art as a conceptual, philosophical and material exploration of artistic and human experience but also exposes the way in which the arts evolve and artistic meaning is created to provide an insight into the very nature and value of art itself.

Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1990.
Supervised by Fernando Domeyko.
Includes bibliographical references (p. 111).
The title of this thesis implies a critical consideration of the subject. i.e how do we create. show and consume the product of art today. which environment suits it the best and why. The term itself, contemporary art is actually too vague and encompasses such a long historical period that I will restate its period. for the purpose of this project. to the actual; and its actors: those who are affecting the art community now. The environment that I am proposing here is neither a museum or a gallery space. neither a studio or a housing project. The main intent of this work is to create an environment which is a living one. not a monument to art or to a particular period. It is an environment which can facilitate the creative act: in its process as well as in its consumption. It is an environment which offers to both. curators and artists liberty and stimulation to redefine and confront their particular concerns. which is in my understanding the understanding the beauty of art. i.e. their needs to question and search ones own visions. This thesis is the synthesis of my professional understanding. Working in art for many years and being involved in architecture through my studies here at MIT, I wanted to end by creating an environment which will be a representation of a living place where I , as well as other artists, would want to be involved; where the quality of its rooms and spaces (light, materials, sensual qualities ... ), the discovery through intellectual and physical movement, would offer conception, feelings and images of work to be realised, telling me that there is so much to do once I am out of here!!! Art and its process is a representation of our life. Its physical environment is also a possible interpretation of a physical environment which could be applied to many individuals ...
by Pierre E. Leclerc.
M.Arch.

Art has a definite place in our culture and it plays a significant role there. Yet all the continuing efforts in analytic aesthetics to define art have failed, leading to an impasse. So, we still do not know how to define art. In order to overcome the impasse I argue that a change of philosophical perspective is necessary and I suggest a confrontation between Continental and analytic perspectives on defining art. In Part One I deal with analytic aesthetics. I single out Danto's theory of art as the paradigmatic analytic theory of art. I call attention to the fact that Danto defines art by means of language, a theory of art which is a discourse on the language of art. I show the impact of Danto's theory on the rest of analytic aesthetics. First, I present Dickie's theory of art of and show how he draws from Danto but departs from him later on. Then, I present Tilghman's critique of Danto, and I stress the point that in Tilghman's view the problem with Danto's theory is linguistic in nature. I identify Danto's understanding of language as the source of the problems recent analytic aesthetics has with the definition of art. In this way I locate the current impasse in analytic aesthetics and I claim that the underlying analytic understanding of language is too narrow in order to define art. I show the evolution of Danto's views and I discuss his attempt to enlarge his understanding of language with history. In Part Two I try to suggest a way out of the impasse. I shift the perspective and turn to phenomenology and Ingarden's theory of art. I call attention to the role of language in his philosophy and present his approach as quasi-analytical. Specifically, I interpret Ingarden as the continuator of Twardowski and not of Husserl in his understanding of language. I point to the fact that Ingarden's non-phenomenological view of language is a view that allows of seeing language not only as a container of ideas but also their shaper. I show that Ingarden attributes to language an attentional mode of being, and that he treats it as a means of communication. He exposes its cultural nature and enlarges its understanding with the notion of society. I claim that such a broader understanding of language may help analytic aesthetics overcome the present impasse. In Conclusion, I argue that supplementing the notion of language with the notion of history, as Danto does, or society, as Ingarden does, provides a fuller understanding of language, and consequently of art. Hence, it makes possible the overcoming of the impasse in analytic aesthetics. At the same time, however, I show that the very project of defining art has to be relativized in terms of understanding and responding to the significance of art.

This thesis is concerned with three problems. The first is that of distinguishing and defining one category of video art. The second is developing criteria for the evaluation of works in this category. The third problem is the application of these criteria to a new psycho-narrative video art piece created by the author as well as two pieces by other artists. This paper examines the use of film and video as an art form, focusing on specific influences affecting the evolution of psycho-narrative video art. Definitions for video art and psycho-narrative video art are developed. Descriptive criteria and three critiques are used to justify the conclusions. A concluding artist statement presents the personal view of the author.

Sammanfattning Konsthantverk är ett begrepp som förändras i förhållande till hur samhället förändras. Denna studie är därför inriktad på hur detta begrepp uppfattas i nutidens svenska samhälle eftersom den ligger så nära andra begrepp såsom ”design”, ”slöjd”, ”konst”, ”hantverk” och ”formgivning”. Syftet är att skapa en större förståelse för hur begreppet kan tolkas och ge en tydligare bild för de som intresserar sig för konsthantverk men också för de som verkar inom eller i de närliggande begreppen. Studien är uppbyggd på litteratur som berör konsthantverk där olika personer har tolkat och försökt sig på att identifiera begreppet. Till detta tillkommer också emailbaserade intervjuer med Zandra Ahl, Bengt Lärkner, Johanna Rosenqvist, Barbara Häggdahl och Jonas Rooth. Deras svar har en avgörande roll i huruvida konsthantverk tolkas idag, och eftersom deras åsikter är personliga ger det också en bredd kring begreppet. Men detta skapar också en diskussion som hela tiden förändras i takt med människan, och denna studie står som informativ bas till de framtida studierna kring begreppet ”konsthantverk”.

This dissertation applies philosopher Henri Bergson's methodology and his ideas of duration and creativity to the definitional problem of art, particularly as formulated within analytic aesthetics. In mid-20th century, analytic aesthetics rejected essentialist definitions of art, but within a decade, two predominant definitions of art emerged as answers to the anti-essentialism of the decade prior: functionalism and proceduralism. These two definitions define art, respectively, in terms of the purpose that art serves and in terms of the conventions in place that confer the status of art onto artifacts. Despite other important definitions (including historical and intentionalist definitions), much of the literature in the analytic field of aesthetics center on the functional/procedural dichotomy, and this dichotomy is an exclusive one insofar as the two definitions appear incompatible with each other when it comes to art. I use Bergson's methodology to demonstrate that the tension between functionalism and proceduralism is an artificial one. In turn, abandoning the strict dichotomy between these two definitions of art opens the way for a more fluid conception of art. Using Bergson's application of duration and creativity to problems of laughter and morality, I draw parallels to what a Bergsonian characterization would entail.

The word ‘asset’ was originally taken into the English language, from the Latin ‘ad satis’ and French ‘asez’, as a term used at law meaning sufficient estate or effects to discharge debts. It later came to be used in the sense of property available for the payment of debts. Assets were understood to be property (objects owned and rights of ownership) that could be exchanged for cash. The importance of factual knowledge of the money equivalents of property and debts, in managing mercantile affairs, was emphasised in accounting manuals during the eighteenth and nineteenth centuries. The rights of investors and creditors to factual up-to-date information about the financial state of affairs of companies, given the advent of limited liability, underscored the early company legislation that required the preparation and auditing of statements of property and debts. During the latter part of the nineteenth century the emphasis in accounting moved away from assets as exchangeable property to assets as deferred costs. Expectations took the place of observables. The abstract (expectational) notion of assets as ‘future economic benefits’ was embraced by accountants in the absence of rigorous definitions of the elements and functions of dated statements of financial position and performance. Assets are quantified financially by a heterogeneous mass of potentially inconsistent rules that, by and large, have no regard for the empirical nature of measurement. Consequently, accountants have failed to provide the community with up-to-date factual information about the financial state of affairs and performance of business entities - and, hence, with an informative basis for financial action.

Cette thèse cherche à répondre à une question fondamentale de la philosophie de l'art: qu'est-ce que l'art? Après avoir examiné les réponses des plusieurs théories de l’art, il propose que la définition de l’art proposée par Arthur Danto soit celle qui se conforme le plus à la réalité de l’art, bien qu’elle souffre de certaines imperfections et insuffisances. Sur la base de cette conclusion critique ainsi que d'une analyse minutieuse de ce qui est considéré actuellement comme un art, il tente de modifier la définition de Danto et de la transformer en une nouvelle définition, capable de mieux se conformer à la réalité des phénomènes artistiques. La thèse d’abord présente la situation actuelle de l’art et les théories de l’art existantes qui n’ont pas réussi à rendre suffisamment justice à la totalité de ce qui est considéré comme artistique. Par un regards critique de ces théories, la thèse tente de montrer que les conditions pour être l’art qu’elles proposent sont soit insuffisantes, soit pas nécessaires. La thèse tente aussi de lever les obstacles à la possibilité de définir l'art créés par des théoriciens anti-essentialistes, et de montrer en conséquence que la définition de l'art sous la forme de conditions nécessaires et suffisantes est encore possible.La thèse en suite offre une présentation complète de la définition de l’art de Danto. À travers plusieurs comparaisons, Danto propose que la spécificité de l’œuvre d’art corresponde à une représentation avec une ellipse métaphorique, alors que l’objet non artistique n’est pas représentatif et la représentation schématique n’est pas métaphorique. Il affirme aussi que l'œuvre d'art est une représentation dotée de style. Il introduit également le concept d '«Artworld» sous la forme d’un «style matrix» constitué de tous les prédicats artistiques existants qu'une œuvre d'art peut choisir de manifester ou de rejeter pour chacun d’entre eux afin de se situer dans l'évolution historique de l'art. Les critiques principales contre la théorie de Danto sont examinées: certaines de ces critiques sont jugées injustes et par conséquent rejetées pour défendre la validité de plusieurs aspects essentiels de la théorie de Danto; d'autres sont considérés raisonnables. En outre, la thèse confronte la théorie de Danto à la réalité de la scène artistique actuelle et formule des critiques supplémentaires qui n’ont pas été proposées jusqu'à présent. Dans le dernier chapitre, la thèse s'attache à élaborer les éléments essentiels d'une nouvelle définition de l'art basée sur les parties acceptables de la définition de Danto. La définition proposée par la thèse considère l'essence de l'art comme une propriété qui réside dans l'intention artistique de l'action. L'œuvre d'art possède cette propriété de manière dérivée étant le résultat de l’action artistique. Ce résultat est parfois le produit transitif de ces actions, parfois ces actions elles-mêmes. Une action artistique est analysée comme une action tentant à représenter métaphoriquement quelque chose. L'analyse de différents exemples montre que les œuvres d'art sont artistiques à des degrés divers: certaines sont plus artistiques que d'autres. Cette gradation résulte de la possibilité que l’intention artistique d’une action est gênée par d’autres intentions non artistiques, ainsi que des conditions contextuelles supplémentaires, par exemple, le manque d’habileté à réaliser pleinement l’intention artistique. Cette définition de l'art basée sur l'action fournit une nouvelle perspective sur l'ensemble de la recherche artistique en transformant les problèmes de l'art en types spécifiques de problèmes de l'action. Enfin, la thèse rompt avec Danto en défendant l'idée qu'une définition de l'art doit toujours suivre l'évolution de l'art ce qui n'est pas encore terminée, même si elle a atteint une phase relativement stable
This thesis seeks to answer a basic question of the philosophy of art: What is art? After examining the answers provided to this question by several art theories, it proposes that the definition of art offered by Arthur Danto is the one that most conforms to the reality of art, although it suffers from certain imperfections and insufficiencies. On the basis of this critical conclusion and through a careful analysis of what is categorized as art in the present time, it attempts to modify Danto’s definition and to transfigure it into a new one, capable of better conforming to the reality of art. It firstly introduces the contemporary situation of art and the existing art theories which didn’t successfully do sufficient justice to the totality of what is considered as artistic. Through a critical examination of these theories, it tries to show that the sufficient and necessary conditions for being art that they propose are either not sufficient or not necessary. It then tries to clear up the obstacles to the possibility to define art that have been put forward by the anti-essentialists, who claim that art cannot be defined in a classical way, and accordingly tries to show that a definition of art in the form of necessary and sufficient conditions is still possible. The thesis then provides a comprehensive presentation of Danto’s definition of art. Through several comparisons, Danto proposes that the specificity of artwork consists in being a representation with a metaphorical ellipsis, while the non-artistic object fails to be representational and the diagrammatic representation fails to be metaphorical. Furthermore, he claims that an artwork is a representation endowed with style. He also introduces the concept of “Artworld” in the form of a “style matrix”, which consists of all the existing artistic predicates that for each one of them an artwork can choose to manifest or reject in order to locate itself in the historical evolution of art. The main criticisms proposed against Danto’s definition of art are also examined. Some of these criticisms are judged to be unfair and are consequently rejected, leading to a defence of the validity of several key aspects of Danto’s theory; others are considered as reasonable. In addition, the thesis confronts Danto’s theory with the reality of the present art scene and formulates additional criticisms that have not been put forward in the Danto scholarship.In the last chapter, the thesis endeavors to elaborate a new definition of art based on the acceptable parts of Danto’s definition. The definition proposed by the thesis considers the essence of art as a property which lies in the artistic intention of action. The artwork possesses this property in a derived way, being the outcome of an artistic type of action. This outcome is sometimes the transitive product of these actions, and sometimes is these actions themselves. An artistic action is analysed as an action intending to metaphorically represent something. Through the study of different examples, it is shown that artworks are artistic in varying degrees: some works are more artistic than others. This gradation is the result of the possibility that the specific intention of an artistic action is interfered with by other non-artistic intentions, as well as additional conditions, such as the lack of skill to fully realize one’s artistic intention. This action-based definition of art provides a new perspective to the entire field of art research by transforming the art-related problems into specific types of action-related problems. Finally, the thesis breaks away from Danto by claiming that a definition of art should always keep up with the evolution of art which is still not over, even though it has reached a fairly stable phase

Art is everything what people do with time and space is a theoretical text, which includes some of the author’s ideas on contemporary art situation and its definition. The work could be interesting for the people working in the sphere of humanities, as much as to everybody else living in this world.
"Menas yra viskas, ką žmonės daro su laiko ir erdve" - teorinis tekstas, kuriame galima atrasti kai kurias autoriaus mintys apie šiandieninę situaciją su menu ir apie šio termino definiciją. Darbas gali būti įdomūs kaip žmonėms, dirbantiems humanitarinių mokslų srityje, taip pat ir visiems kitiems žmoniems gyvenantiems šiame pasaulyje.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
O objetivo do presente trabalho é analisar a resposta de Danto ao problema da natureza da arte. Para isso, investigaremos o modo como ele utiliza os experimentos dos indiscerníveis, tanto para objetar as teorias tradicionais da arte como para erigir sua definição; e filosofia da arte, o que pode ser chamado, respectivamente, de tarefa negativa e tarefa positiva do uso do método dos indiscerníveis. A primeira parte desse trabalho se ocupa da tarefa de investigar justamente como os experimentos dos indiscerníveis são usados para objetar as teorias mimética, formalista, expressivista, institucionais, da atitude estética, e, por fim, a teoria da indefinibilidade da arte. A segunda parte trata de demonstrar como Danto, através dos experimentos dos indiscerníveis, extrai as condições necessárias e suficientes de sua definição de arte. A terceira e última parte deste trabalho analisa a relação existente entre a definição da arte e a filosofia da história da arte de Danto, principalmente a tese acerca do fim da arte.
The aim of this work is to examine the definition of art proposed by the Arthur C. Danto. For this, we investigated how he uses the experiment of indiscernibles, both to object the tradicional theories of art and to erect his definition of art; which can be called respectively by negative task and positive task of usage of method of indiscernibles. The first part of this work is concerned with to investigate how the experiment of indiscernibles are used to object the theories mimetic, formalist, expressivist, institutional, aesthetic attitude and theory of indefinability of art. The second part of this work focuses to demonstrate how Danto extracts the necessary and sufficient conditions of his definitions of art by the experiments of indiscernibles. The third and last part of this work examines the relationship between the definition of art and Dantos philosophy of art history, especially his thesis about the end of art.

Binge-watching, the act of watching large amounts of television at a time, has become a popular phenomenon internationally; however, it has yet to be sufficiently defined. In order to define binge-watching, data was collected on specific watching instances from 216 undergraduate students at a large research university. Hierarchical and k-means cluster analyses were conducted in Phase I to empirically determine how binge-watching should be defined. In Phase II, that definition was tested by correlating the number of instances of binge-watching in a one-week period, collected by seven days of daily diary logs, with several theoretically related measures including body mass index, dissociative tendencies, psychological distress, compulsion to watch, boredom proneness, and escapism through watching. The data-driven definition was found to be that eight hours or more of continuous watching was binge-watching, while anything less than that was not. In Phase II, the frequency of binge-watching through the seven-day period was calculated based on that new definition. The frequency of binge-watching was positively correlated with body mass index and dissociative tendencies with statistical significance at the alpha = .05 level. Compulsion to watch was not statistically significant; however, there was a positive correlation. These findings indicate that the proposed data-driven definition has concurrent validity. Psychological distress, boredom proneness, and escapism through watching were not statistically significantly related to binge-watching frequency, nor did the effect sizes indicate a correlation may exist. Potential reasons for these results are discussed. The definition found in this study will be helpful to other researchers as research into binge-watching continues to grow.

This study involves the investigation of the basis and validity of considering health information as therapeutic, the definition of Information Therapy, and whether the therapeutic nature of information can be measured empirically. The purpose of the study is to determine if there are any significant differences in the therapeutic effect of Information Therapy through the different delivery modes of support groups communicating face-to-face and those utilizing computer-mediated communication on the Internet. The comparison of these groups revealed no significant differences on three measures of health: physical, mental, and social support. Because one communication medium is not found to be advantageous over the other, the use of the computer can extend the benefits of Information Therapy to the home-bound, to those in remote areas, to people with time restraints, and those who may be shy. The validity of the therapeutic nature of information was verified by participant report of the effect of a health information search. Results demonstrated that the primary source for information is the physician, followed by the Internet, and 77% of participants reported a positive or therapeutic effect when health information was found. These results are significant because individuals who are in positions to deliver Information Therapy can better meet needs by identification of the sources to which people look for information and can have a major impact on patient care and the general health of the population. Providing people with information can empower them to take an active role in their health, can increase confidence in self-care, and should provide coping and disease management skills thus decreasing the utilization of healthcare resources and preventing costly acute and chronic health complications.

This research examines problem definition as the first step in a sequential problem solving process. Seventy-seven managers in four diverse organizations were studied to determine common characteristics of problem definers. Among the variables considered as differentiating problem definers from non-problem definers were cognitive style, personal need characteristics, preference for ideation, experience, level of management, and type and level of education. Six hypotheses were tested using the following instruments: the Problem Solving Inventory, the Myers-Briggs Type Indicator Schedule, the Preference for Ideation Scale, the Edwards Personal Preference Schedule, a Problem Definition Exercise, and a Personal Data Questionnaire. Among the managers studied, only twelve were found to be problem definers. Such small numbers severely limit the ability to generalize about problem definers. However, it is possible that problem definers are scarce in organizations. In terms of cognitive style, problem definers were primarily thinking types who preferred evaluation to ideation in dealing with problems, making judgmental decisions on the basis of collected facts. Problem definers were not predominant at lower levels of the organization. One-third of the problem definers held upper level management positions while another one-fourth were responsible for specialized activities within their organizations, overseeing special projects and individuals much like upper level managers. Sixty-eight of the problem definers had non-business educations with none having more than a bachelors degree. As knowledge and judgment on which to base evaluation expands, managers may become less adept at defining problems and more adept at selecting and implementing alternatives. Several tentative hypotheses can be tested in future research including: 1) determining whether problem definers are scarce in organizations, 2) determining whether problem definers are more prevalent in some types of organizations than others, 3) verifying unique cognitive and personal need characteristics, 4) determining whether non-managers rather than managers have problem defining skills.

Thesis (M. Comm.) (Hons.) -- University of Western Sydney, Macarthur, 2000.
A thesis presented to the University of Western Sydney, Macarthur, in partial fulfilment of the requirements for the degree of Masters in Commerce (Honours), December, 2000. Bibliography : leaves 154-160.

This dissertation will consider how 'gothic' might be applied within contemporary art discourse beyond the motif-heavy assumptions which clutter its habitual usage today. I explore the term historically across its principal disciplines: firstly, art and architecture, from Renaissance to twentieth-century accounts of the Middle Ages alongside its stylistic revival during the Romantic era; and secondly, its now-predominant reference, the eponymous literature of terror emerging in the mid-eighteenth century, later strongly related to horror film, My first premise is that the term's original art-based significance - i.e., having to do with the lingering effects of unwanted inheritances - remains central to its meaning. Secondly, I observe that in attempting to define the essence of the genre, numerous literary theorists cite recurring aesthetic features, i.e., shadows and darkness; labyrinthine space; an emphasis on surface rather than depth; and claustrophobia, among others. These can be seen to establish a recognizable yet flexible aesthetic language - a gothic aesthetic - to speak of the present as a haunted time. This research will test and explore the relevance of a possible literary-based gothic aesthetic to art, particularly in relation to Andy Warhoi's Death and Disaster series (1962-65; '67), Louise Bourgeois's Cells (1986-2008), and a selection of artworks by Tacita Dean, all of which I identify as significant examples of gothic innovation in the visual arts. I also consider the gothic content of Warhol' s artistic persona, and explore whether an earlier art-historical meaning of the term, particularly regarding the fifteenth-century danse macabre, can be seen to continue in the Death and Disasters on radically revised terms. Conventionally assumed as opposites, Modernism and (modern) gothic can be said to have emerged contemporaneously during the Enlightenment. The gothic was a mode despised in the Modernist writings of Clement Greenberg and others; as I argue, some post-1960s artists can be seen to have adopted locations, figures, and forms associated with the gothic to assert counter- or after-Modernist art-making strategies, or to reflect upon Modernism's legacy today.

For many years, and particularly since the 1980s, the state has taken an interest in the curriculum of state-funded secondary schools. This interest has focused largely on utilitarian imperatives for employment and economic sustainability. A consequence of this utilitarian conception of state education is that art viewed, as a less useful subject within the curriculum, is threatened by this. Against an historic discourse about the nature of art itself and why it is taught and its value in society, the question of 'What is art'? and 'What is the role of the art teacher'? continue to defy a consensus that is useful to teachers. Concurrently, these important arguments have inevitably impinged on the practice of art teachers who find themselves distanced from cherished liberal and social imperatives, and confused about what is expected of them. This study looks at how these pervasive arguments make an impact on teachers who, although studied as artists and trained to teach art, now find themselves dubbed 'art and design' teachers as the requirements of the state and its increasingly utilitarian system exerts more control over their working lives. More than twice as many art graduates (3.4% of fine art graduates in 2016) enter teaching than design graduates (1.3% design graduates in 2016) (Logan and Prichard, 2016). A piece of qualitative research was completed with a combined sample of 23 teachers. Building on Efland's streams of influence underpinning the development of art education: Expressionist, Scientific Rationalist and Reconstructivist; and Hickman's rationales for art education: Social Utility, Personal Growth and Visual Literacy, a tentative theory is proposed and hypotheses explored. Some teachers questioned revealed sadness at a perceived reduction in time for lessons devoted to self-expression, art history, cultures, critical evaluation, experimentation, imagination, risk taking, and creativity. Some teachers felt deeply that they and their subject is misunderstood, undervalued and under threat. Many were not comfortable with a role that was at variance with the one they had been trained for. Some teachers suggested their role was no longer concerned with developing children's individual talents but had become too design-based, too predictable, too linear, and too concerned with measurable outcomes and results. Capturing the words of 23 teachers in interviews and surveys contributes to the literature and provides teachers, policy makers and future researchers with vital insights into what an art teacher is and why they teach art, and how this is at variance with National Curriculum aims. These insights are vital because the present lack of consensus about such fundamental arguments has contributed to a devaluing of art in the curriculum to a point where the future of art in state-funded secondary schools is no longer guaranteed.

The increasing use of polymer-based materials (PBMs) across all types of industry has not been matched by sufficient improvements in understanding of polymer tribology: friction, wear, and lubrication. Further, viscoelasticity of PBMs complicates characterization of their behavior. Using data from micro-scratch testing, it was determined that viscoelastic recovery (healing) in sliding wear is independent of the indenter force within a defined range of load values. Strain hardening in sliding wear was observed for all materials-including polymers and composites with a wide variety of chemical structures-with the exception of polystyrene (PS). The healing in sliding wear was connected to free volume in polymers by using pressure-volume-temperature (P-V-T) results and the Hartmann equation of state. A linear relationship was found for all polymers studied with again the exception of PS. The exceptional behavior of PS has been attributed qualitatively to brittleness. In pursuit of a precise description of such, a quantitative definition of brittleness has been defined in terms of the elongation at break and storage modulus-a combination of parameters derived from both static and dynamic mechanical testing. Furthermore, a relationship between sliding wear recovery and brittleness for all PBMs including PS is demonstrated. The definition of brittleness may be used as a design criterion in selecting PBMs for specific applications, while the connection to free volume improves also predictability of wear behavior.

O objetivo principal desta dissertação consiste na apresentação da contribuição filosófica de Noël Carroll, pensador contemporâneo norte-americano, ao debate sobre o conceito de arte. Seu trabalho principal dentro do tema é duplo. De um lado, Carroll elabora um empreendimento crítico às teorias estéticas da arte que são para ele uma tradição filosófica capaz de fornecer as condições de possibilidade para o surgimento de uma definição estética da arte. E, de outro lado, Carroll elabora um empreendimento propositivo a partir do qual sua posição no debate definicional sobre o termo ‘arte’ pode ser evidenciada. Em sua etapa crítica, o pensamento de Carroll: (1) desenvolve uma genealogia das teorias estéticas, apresentando assim o arcabouço histórico para elas; (2) indica o que é comum a elas, a saber, a definição estética da arte; (3) procede a uma análise lógica dessa definição, apresentando as suas implicações e justificando o seu descredenciamento. Já em sua etapa propositiva, o pensamento de Carroll: (1) realiza um balanço das contribuições filosóficas ao debate definicional, apresentando pensadores importantes como Weitz, Dickie e Danto; (2) desenvolve um método de identificação de arte que dispensa a via definicional, chamado de narrativas identificadoras; (3) apresenta uma série de respostas às objeções desenvolvidas por outros autores ao seu método.
The main purpose of this work consists in an exposition of Noël Carroll’s philosophical contribution. Carroll is a contemporary North American philosopher whose work focuses on the debate concerning the concept of art. Our view is that his work consists in a twofold undertaking. On one side, Carroll elaborates a critical enterprise to the aesthetic theories of art that, for him, can foster the conditions and the possibilities to the outbreak of an aesthetic definition of art. On the other side, Carroll elaborates a purposeful enterprise through which his position on the definitional debate of the term ‘art’ can be easily understood. On his critical stage, Carroll: (1) makes a genealogy of aesthetic theories, giving them a historical outline; (2) indicates their common core, namely, the aesthetic definition; (3) proceeds analyzing this definition, showing its implications and justifying its disenfranchisement. In addition, on his purposeful stage, Carroll: (1) analyses relevant philosophical contributions to the definitional debate, presenting authors like Weitz, Dickie and Danto; (2) develops a method for art identification that exonerates the traditional definitional approach, called identifying narratives; (3) presents a series of replies to objections to his method made by others philosophers.

A clearly defined ownership of real property is of great importance in order to support economic prosperity in society. An incentive grows for property owners to increase the value of their property and allow free transactions through investments. Property owners need to rely on property boundaries and respect their markings for the secur-ity of the property rights system not to be undermined. In Sweden it is therefore prohibited by law to move or destroy boundary markers. To for example find out where an uncertain boundary lies, a property definition can be used. With a decision of property definition the property boundaries become legally binding and registered in the Real Property Register. A property definition measure can also be used for other uncertainties surrounding properties, such as whether an easement exists and the extent to which joint facilities have. The purpose of this thesis is to increase the knowledge of property definitions and how they appear. Questions, such as which type of property definition that are most com-mon, who initiates the proceeding in general, and how often Real Property Formation Act ch. 14 sect. 5 and 6 applies, were examined. Interesting problems and results were also discussed. The results of the survey show that there are both areas that have not changed much at all since the Real Property Formation Act entered into force, and those who have. Results which have not changed were that, boundaries were most common to deter-mine, that property definition usually occur with another measure and that technical adjustments rarely were applied. Areas that however have been changed were that procedure costs agreements have increased and that the number of clearly docu-mented official initiative has decreased.
En klart definierad äganderätt till fast egendom är av stor vikt för att kunna skapa ekonomiskt välstånd i samhället. Det skapar incitament för fastighetsägare att genom investeringar öka värdet på sin fastighet och möjliggör fria transaktioner. För att tryggheten i äganderättssystemet inte ska urholkas måste fastighetsägarna ha förtro-ende för fastighetsgränser och respektera dess markeringar. I Sverige är det således enligt lag förbjudet att flytta eller ta bort gränsmarkeringar. För att ta reda på var, bland annat, en oklar gräns ligger används institutet fastighets-bestämning. Genom ett fastighetsbestämningsbeslut blir gränsen juridiskt bindande och registreras i fastighetsregistret. En fastighetsbestämningsåtgärd kan också använ-das för att reda ut andra oklarheter kring fastigheter, till exempel huruvida servitut finns och vilken omfattning gemensamhetsanläggningar har. Syftet med detta examensarbete är att öka kunskapsnivån om fastighetsbestämnings-förrättningar och hur de oftast ser ut i praktiken. I arbetet undersöks exempelvis frågor som vilken typ av fastighetsbestämning som är vanligast, vem som tar initiativ till förrättningen samt hur ofta åtgärderna i FBL 14:5 och 14:6 tillämpas. I uppsatsen förs också diskussioner kring intressanta problem och resultat. Resultaten av undersökningen visar att det både finns områden som inte har föränd-rats mycket alls sedan fastighetsbildningslagen trädde ikraft och sådana som har det. Exempel på några som inte förändrats är att det var vanligast att bestämma gränser, att fastighetsbestämning oftast sker i samband med en annan åtgärd och att FBL 14:6, teknisk jämkning sällan tillämpas. Områden som däremot har förändrats är att andelen överenskommelser om förrättningskostnader har ökat och att antalet officialinitiativ som tydligt redovisats i förrättningsakten har minskat.

Physical activity has been demonstrated in the literature as an effective way to reduce the risk for development of chronic disease. The Transtheoretical Model (TTM) of behavior change has been developed as a means to predict and facilitate movement into healthier lifestyle behaviors. The model is centered on "stages of change", which describe a continuum of readiness to engage in a health behavior change. Stages contain temporal, qualitative, and quantitative characteristics. This was a six-month study that evaluated the effectiveness of stage-matched (theorized to be pertaining only to the maintenance stage of change) vs. generic (theorized to be pertaining to anyone, regardless of stage) newsletters in assisting subjects to attain the Maintenance stage of change. It also sought to identify further qualitative characteristics that can differentiate between the Action and Maintenance stages of change. Results indicated that monthly stage-matched newsletters were no more effective in helping subjects reaching Maintenance than were the generic newsletters. Exerciser self-schema was related to stages of change, but those relationships differed from baseline to six-month follow-up, indicating development of exerciser self-schema during the study period. Implications of this are discussed. Other concepts discussed included "structure" of change process, in that three new scores were developed and correlated with self-efficacy as well as intercorrelated. Motivation was also evaluated and compared across levels of success at adhering to exercise during a three-month period. Limitations of the study and implications are discussed.

Det är inte ovanligt att viss rock- och annan populärmusik tillskrivs konstnärliga ambitioner, eller förses med epitet som "konstnärlig" och "konstmusikalisk". Sällan utvecklas emellertid på vilket sätt detta konstnärliga tar sig uttryck. Uppsatsens syfte är att musikanalytiskt undersöka vad som kan motivera formuleringarna och om de kan anses adekvata. Materialet för undersökningen är tre verk/låtar ur rockgenren, som beskrivits med ovanstående begrepp: Close to the Edge med gruppen Yes från 1972, Sense of Doubt med David Bowie från 1977 och Sleep med gruppen Godspeed You! Black Emperor från 2000. Metoden är den auditiva musikanalysen, vilket innebär att analysen utgår från ett aktivt lyssnande på musikens förlopp. Två fokus finns: ett på själva musiken; ett på de intentioner i och med verket/låten som kan föreligga. Analysen utgår från en definition av begreppen konst- och populärmusik som görs i början av uppsatsen. Denna grundar sig i sin tur på en genomgång av begreppsdefinitioner i framförallt lexikon och ordböcker, men också i musikvetenskaplig litteratur och den kan därmed göra anspråk på en viss allmängiltighet. Resultatet av analysen visar att samtliga musikexempel går utanför ramarna för definitionen av populärmusik, samtidigt som de uppvisar flera egenskaper som faller inom konstmusikdefinitionen. Beskrivningarna av låtarna som konstmusikaliska och konstnärliga kan alltså anses adekvata. Analysen och den föregående begreppsdiskussionen medvetandegör emellertid också den problematik som ryms i distinktionen konst- respektive populärmusik. Detta utvecklas i uppsatsens slutdiskussion, där begreppen relateras till ett idéhistoriskt sammanhang. Distinktionen visar sig ha rötter i 1800-talets kulturdebatt och under 1900-talet har den närts av en modernistisk kultur- och samhällssyn. De senaste decenniernas postmodernistiska strömningar, med ökad värderelativism och uppluckrade musikaliska genregränser, har dock bidragit till att begreppen i allt större utsträckning spelat ut sin roll.
It is not uncommon that certain rock and other popular music is attributed with artistic ambitions or is befitted with epithets such as "artistic" or "art music-like". However, it is rarely elaborated in which way these artistic qualities are conveyed. The purpose of this paper is to investigate from an analytical standpoint what can incentivize these wordings and if they can be viewed as adequate. The material for the investigation is three pieces/songs from the rock genre which have been described with the above terms: Close to the Edge by the group Yes from 1972, Sense of Doubt by David Bowie from 1977 and Sleep by the group Godspeed You! Black Emperor from 2000. The method is auditive music analysis which means that the analysis is based upon actively listening to the music. There are two areas of focus: one is on the music itself; one is on the intentions that may lie in and with the piece/song. The analysis is based upon a definition of the terms art music and popular music that is made at the beginning of the paper. This, in turn, is based upon a rundown of term definitions made in, above all, lexicons and dictionaries, but also in musicology, and thus it can claim a certain generality. The result of the analysis shows that all music examples move outside the boundaries of the definition of popular music and, at the same time, show qualities that fall inside the boundaries of the definition of art music. Thus, the descriptions of the songs as "art music-like" and "artistic" can be viewed as adequate. However, the analysis and the preceding term discussion raise awareness about the problems that are contained in the distinction between art music and popular music, respectively. This is elaborated in the concluding discussion in which the terms are interrelated to a contexture involving the history of ideas. The distinction is shown to have its roots in the cultural debate of the 19th century, and during the 20th century it has been nurtured by a modernist view of culture and society. The post-modernistic trends of the last few decades, characterized by increased value relativism and loosened musical genre boundaries, have contributed to making the terms obsolete.

Bibliography: p. 247-263.
In this dissertation I demonstrate that in many Western and Soviet texts the work of so called formalist leftists and figurative artists are viewed as diametrically opposed to one another. I argue against the perpetuation of this polemic and the assumptions that inform this view. These assumptions are that the leftists produced self-referential works indicative of an anti-realist philosophy and that figurative artists produced social commentaries informed by a philosophy of realism which led 'inevitably' to Socialist Realism. Although a few recent texts warn against oversimplifying this debate, none go far enough in deconstructing the view that there were two groupings diametrically opposed to one another. In fact, many simply repeat the argument as it was articulated in the twenties and thirties, which is to ignore the possibility of a critical analysis of the theoretical principles and constraints informing the debates current at that time. Categorising leftists as anti-realist and figurative artists as realist is not satisfactory firstly because neither the leftists nor the figurative artists existed as homogenous groupings and secondly because many figurative artists (the so-called realists) in fact challenged the idea of a coherent world order existing external to the art work. Nevertheless there are artists from both these categories who asserted the importance of an objective world that was external to and a primary determinant of the art work. In this dissertation I demonstrate that these figurative artists often shared the same ideological goals with leftists. Instead of working with the idea of viewing artists of the twenties and thirties as realist or anti-realist, figurative or so-called formalist, I discuss their philosophical and stylistic choices in relation to the political and economic project of the period, namely the empowerment of the proletariat and the attempt to foster a proletarian culture.

While a great deal of psychological research is conducted on college students, less has been done on their adaptation to college. These young adults, as they develop ego identity and differentiate themselves from parents and families, must adjust to the social and academic environment of college. Psychosocial adjustment predicts college retention better than academic predictors do. First generation college students face greater than typical challenges adapting to college. The Ronald E. McNair Post-Baccalaureate Achievement Program exists to aid first generation, lower income undergraduate student who wish to pursue a doctoral degree. Self-definition scored from thematic apperceptive technique stories reflects an individual’s relative freedom from social role constraint. This study examined the role of self-definition and familial understanding and acceptance in this population as predictors of successful adaptation to college. While neither was found to be a significant predictor, family understanding and acceptance was found to be a more defining characteristic of this sample than was self-definition. This suggests that when social support is sufficient, individuals do not need to rely on self-definition.

The right to freedom of association is the cornerstone of collective bargaining. It is a precondition for the realisation of a number of other rights, including the right to organise, to engage in collective bargaining and to strike. These rights as contained in the Bill of Rights though not absolute and may be limited in terms of the Constitution of the Republic of South Africa in terms of a law of general application, such limitations must be reasonable and justifiable. South African courts have an obligation to interpret labour provisions in accordance with international law and customs. This paper examines whether settlement definition of ‘workplace’ can be regarded as a reasonable and justifiable limitation to the right to strike within the ambits of internationally and constitutionally acceptable labour norms.
Mini Dissertation (LLM)--University of Pretoria, 2019.
Mercantile Law
LLM
Unrestricted

This PhD thesis, which is presented in the mode of published articles, explores the differentiating factors of a High Academic Achievement Program at a public technological university in Spain and how they can affect the definition of the university strategies. The Universitat Politècnica de València (UPV), launched in the 2010-11 academic year the High Academic Achievement Groups ("Grupos de Alto Rendimiento Académico", from now on ARA Groups), characterized by a good number of courses taught using English as a medium of instruction, a small number of students in the class, and highly qualified teachers. English taught courses are a global phenomenon, associated to improved English language and internationalization skills, but it raises concerns about learning outcomes and equity (Dearden, 2014). The purpose of this study was to assess the first promotion (2010-2014) of this program at the five university bachelor degrees of the UPV that offered it. We wanted to analyze if this action has had any impact on a set of variables related to academic outcomes, international exchange programs, and business internships of the participating students in comparison with the rest of students of these degrees and hence, on their employability upon graduation. The sample consisted in the total of 3,543 students of the five degrees offering this innovation, of which 560 belonged to the ARA Groups. The first article "Effects of business internships on students, employers, and higher education institutions: a systematic review" (Sanahuja Vélez, G., and Ribes Giner, G., 2015) was published by the Journal of Employment Counselling on September 2015. The second publication consists of a Book Chapter published by Springer International Publishing on January 2017: "Intrapreneuring within a higher education institution: Introducing virtual business internships" (Sanahuja Vélez, G., Ribes Giner, G., Moya Clemente, I., 2017) in Entrepreneurial Universities (Peris-Ortiz, M., Alonso Gómez, J., Merigó Lindahl, J. M., and Rueda-Armengot, C., Eds.). The third publication is a "Systematic review of English Medium of Instruction (EMI) in higher education institutions. The case of a Business School", presented as a conference at the 2nd Seminar on Learning Internationalization: English Medium of Instruction (EMI) of the Centro de Lenguas of the Universitat Politècnica de València (March 30 and 31st, 2017) and which is currently being reviewed for its publication in its international journal. The fourth research work is the article "Enhancing student internationalization and employability in a Business School", which is presently been given full consideration for publication at the Journal of Business Management and Business Economics. The fifth article presents the core results of the empirical part of this research work and it is entitled: "Introducing a High Academic Achievement Program in a Technological University as a Social Innovation Mechanism to Enhance Graduates' Employability". This paper is currently given full consideration for publication at the journal Technovation. The overall conclusions of our research allow us to conclude that, from the academic point of view, the objectives of the High Academic Achievement Groups of the UPV were met, as results show that academic performance was enhanced. Our results also show that participation into exchange programs, at the School of Business Administration and Management and in the UPV as a whole, was almost four times higher in the ARA groups. Having in mind that better grades and international experience are directly linked to future employability and mobility of graduates, it is expected that these graduates will have a superior reception in the labor market.
Esta tesis doctoral, que se presenta en el formato de artículos publicados, explora los factores diferenciadores de un Programa de Alto Rendimiento Académico en una universidad politécnica pública en España y cómo pueden afectar al diseño de estrategias universitarias. La Universitat Politècnica de València (UPV) implementó en el curso 2010-11 los Grupos de Alto Rendimiento Académico (Grupos ARA), caracterizados por un alto número de asignaturas impartidas en inglés, un número pequeño de estudiantes por clase y profesores altamente calificados. El uso del inglés como medio de instrucción (EMI) es un fenómeno global, asociado a la mejora de los conocimientos del idioma inglés y de las habilidades interculturales, pero plantea algunas preocupaciones sobre los resultados sobre el aprendizaje y la equidad (Dearden, 2014). El objetivo de este estudio fue evaluar la primera promoción (2010-2014) de este programa en los cinco títulos de grado universitario de la UPV en los que se ofertaron los Grupos ARA. Queríamos analizar si está acción ha tenido algún impacto en distintas variables relacionadas con los resultados académicos, los programas de intercambio internacional y las prácticas en empresas en los alumnos participantes, en comparación con el resto de alumnos y en consecuencia, en su empleabilidad al graduarse. La muestra consistió en un total de 3.543 estudiantes, de los cuales 560 estaban matriculados en los grupos ARA y el resto, 2.983, en los grupos regulares. El primer artículo, titulado "Efectos de las prácticas en empresas en estudiantes, empresas e instituciones de educación superior: una revisión sistemática" (Sanahuja Vélez, G., Ribes Giner, G.), fue publicado por el Journal of Employment Counseling en septiembre de 2015. La segunda publicación consta de un capítulo de libro publicado por Springer International Publishing en enero de 2017: "Intraentreprendedurismo dentro de una institución de educación superior: las prácticas en empresa virtuales" en "Entrepreneurial Universities" (Peris-Ortiz, M., Alonso Gómez, J., Merigó Lindahl, J. M., and Rueda-Armengot, C., Eds.). La tercera publicación es una "Revisión sistemática del inglés como medio de instrucción (EMI) en instituciones de educación superior. El caso de una Facultad de Administración y Dirección de Empresas", presentada como Conferencia en el 2º Seminario de Internacionalización del Aprendizaje: Inglés como Medio de Instrucción (EMI) del Centro de Lenguas de la Universitat Politècnica de València (30 y 31 de marzo de 2017) y actualmente en revisión para su publicación en la correspondiente revista internacional. El cuarto trabajo de investigación es el artículo "Promocionar la internacionalización de los estudiantes y la empleabilidad en una escuela de negocios" (Sanahuja Vélez, G., Ribes Giner, G., Moya Clemente, I.), que actualmente se considera plenamente para su publicación en el Journal of Business Management y Business Economics. El quinto artículo presenta los principales resultados de la parte empírica de este trabajo de investigación y se titula: "Introducción de un Programa de Alto Rendimiento Académico en una Universidad Tecnológica como Mecanismo de Innovación Social para Mejorar la Empleabilidad de los Graduados" (Sanahuja Vélez, G., Ribes Giner, G., Moya Clemente, I.). Este artículo ha sido enviado a la revista internacional Technovation y en la actualidad está siendo revisado para su publicación. Como resultado de nuestra investigación empírica podemos destacar los factores diferenciadores de los Grupos ARA, que son: un mayor rendimiento académico de los estudiantes, una mayor participación en programas internacionales, además de una participación en prácticas en empresas sin diferencias significativas respecto a los demás grupos, todo lo cual conduce a una mayor empleabilidad y movilidad.
Esta tesi doctoral, que es presenta en la forma d'articles publicats, explora els factors diferenciadors d'un Programa d'Alt Rendiment Acadèmic en una universitat politècnica pública a Espanya i com poden afectar la definició de les estratègies universitàries. La Universitat Politècnica de València (UPV), va implementar en l'any acadèmic 2010-11 els "Grups d'Alt Rendiment Acadèmic" (Grups ARA), que es caracteritzen per un bon nombre de cursos que s'imparteixen utilitzant l'anglès com a mitjà d'instrucció (EMI), un petit nombre d'estudiants a la classe, i mestres altament qualificats. L'EMI és un fenomen global, associat a la millora dels coneixements d'anglès i de la internacionalització, però planteja preocupacions sobre els resultats de l'aprenentatge i l'equitat (Dearden, 2014). El propòsit d'aquest estudi va ser avaluar la primera promoció (2010-2014) d'aquest programa en els cinc graus universitaris de la UPV que en que s'hi va oferir. Vam voler analitzar si tenia algun impacte sobre diverses variables relacionades amb els resultats acadèmics, programes d'intercanvi internacionals i pràctiques en empreses dels 3.543 estudiants matriculats, dels quals 560 pertanyeren a eixos nous grups, i per tant en la seva futura ocupabilitat. El primer article "Efectes de les pràctiques en empreses en els estudiants, empresaris i institucions d'educació superior: una revisió sistemàtica" (Sanahuja Vélez, G., Ribes Giner, G.), va ser publicat per la revista Journal of Employment Counselling al setembre de 2015. La segona publicació consta d'un capítol de llibre publicat per Springer International Publishing, al gener 2017: "Intraentreprendurisme dins d'una institució d'educació superior: Presentació de les pràctiques virtuals en empreses" en "Entrepreneurial Universities" (Peris-Ortiz, M., Alonso Gómez, J., Merigó-Lindahl, J. M., Rueda-Armengot, C., Eds.). La tercera publicació és una "Revisió sistemàtica de l'Anglès com a mitjà d'instrucció (EMI) en les institucions d'educació superior. El cas d'una Escola de Negocis", presentada com conferència al 2ón Seminari sobre "Learning Internationalization: English as a Medium of Instruction (EMI)" del Centre de Llengües de la Universitat Politècnica de València (30 de març i el 31 de 2017) i actualment en revisió per a la seva publicació a la corresponent revista internacional. El quart treball d'investigació és l'article "Millora de la internacionalització i l'ocupabilitat dels estudiants a una Facultat de Negocis" (Sanahuja Vélez, G., Ribes Giner, G., Moya Clemente, I), que en l'actualitat ha rebut plena consideració per a la seva publicació al Journal of Business Management and Business Economics. El cinquè article presenta els principals resultats de la part empírica d'este treball d'investigació i es titula: "Introducció d'un Programa d'Alt Rendiment Acadèmic en una Universitat Tecnològica com a Mecanisme d'Innovació Social per Millorar l'Ocupabilitat dels Graduats" (Sanahuja Vélez, G., Ribes Giner, G., Moya Clemente, I.). Este article està en l'actualitat essent revisat per a la seva publicació a la revista internacional Technovation. En este article s'explora el paper d'un programa d'Alt Rendiment Acadèmic (Grups ARA) en una universitat tecnólogica pública espanyola, com a mecanisme d'innovació social, a fi de crear valor afegit en termes d'ocupabilitat. Les conclusions generals de la nostra investigació ens permeten afirmar que, des del punt de vista acadèmic, es van complir els objectius dels Grups d'Alt Rendiment Acadèmic de la UPV, ja que els resultats demostren que el rendiment acadèmic dels alumnes participants s'ha millorat. Els nostres resultats també demostren que la participació en programes d'intercanvi, a la Facultat d'Administració i Direcció d'Empreses i en la UPV en el seu conjunt, va ser gairebé quatre vegades més gran en els grups ARA. Tenint en compte que el rendiment acadèmic i l'exper
Sanahuja Velez, G. (2017). Differentiating factors in ARA Groups(groups of high academic achievement) and its effects on the definition of university strategies [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/86184
TESIS

Brachytherapy is a form of radiotherapy in which radioactive sources are placed at short distances from, or even inside the target volume. The use of high dose rate brachytherapy is a widely accepted and clinically proven treatment for some stages of prostate cancer. The aim of this project was to investigate potential improvements on two of the most important aspects of high dose rate (HDR) and pulsed dose rate (PDR) prostate brachytherapy - prostate definition and treatment delivery verification. The use of magnetic resonance (MR) imaging in addition to the conventional computed tomography (CT) imaging methods currently used routinely for brachytherapy planning may provide some benefit in accurately defining the prostate and surrounding critical structures. The methods used in this project involved analysis of data sets provided by two Radiation Oncologists. The results presented showed inter-observer and intra-observer variations in the size and shape of the prostate, as well as analysis of the dosimetric differences that may be reported due to the differences in prostate size and shape. The results also included analysis of critical structure dosimetry - dose to the surrounding radio-sensitive rectum and urethra. In summary, the results showed that the prostate was defined to be smaller using MR imaging than CT, however the consistency between Oncologists was not significantly improved using MR imaging. MR imaging may be useful in reducing the dose to normal tissue surrounding the prostate and in obtaining better coverage of the smaller target volume, without compromising the critical structures. The use of LiF:Mg,Ti thermoluminescent dosimeters (TLDs) is a potential avenue for in vivo dose verification of an HDR or PDR prostate brachytherapy treatment plan. This project included a phantom study of these TLDs with the aim to determine their feasibility for clinical use. Cylindrical TLD rods (6 mm length x 1 mm diameter) were used, as these fit inside the brachytherapy needles implanted into the prostate, and therefore had potential to be used clinically to verify the dose delivered in the prostate. This study was extended to include determination of a correction factor to allow an independent radiation source (6 MV photon beam from a linear accelerator) to be used to obtain control readings for this relative dosimetric method. The results showed these TLDs to be a promising in vivo dosimeter for prostate brachytherapy with potential errors in the order of 4%. Their potential lies in the fact that they could detect and flag significant calculation errors in treatment plans, and they utilise equipment used routinely for external beam radiotherapy dosimetry in many treatment facilities, reducing the cost of implementing such a procedure.

During the past few decades the focus of waste management in South Africa has been emphasised, especially in view of the increase in economic development which has resulted in an increase in commercial, industrial, hazardous, mining, power generation as well as radioactive waste. The iron and steel making industry in South Africa provides for a vast amount of recycling opportunities of various materials resulting from the iron and steelmaking process. The regulation of waste management in South Africa may have some significant implications on this particular industry. In this dissertation the history of waste management legislation in South Africa is researched. It is found that initially only waste disposal was regulated, but over time, in addition to disposal, other aspects were also regulated in terms of other pieces of environmental legislation, such as the recycling, recovery and storage of waste. In an attempt to provide for uniform waste management regulation in South Africa, and in order to achieve sustainable development by the provision of a new waste hierarchy, the National Environmental Management: Waste Act was introduced. As part of this legislation, a new definition of waste was also introduced. It is indicated as part of this dissertation that various interpretations of the definition of ‘waste’ are possible. It is also indicated that these various interpretations may not only have some significant implications for the iron and steelmaking industry in South Africa, but may also have significant implications for the implementation of the waste hierarchy, as envisaged in terms of current waste management legislation. In the light of the above, and after taking comments by the members of the South African Iron and Steel Institute into consideration, recommendations are made for an improved legislative framework for waste management in South Africa. It is recommended that there should be a trade–off between the protection of the environment and the re–use, recovery and recycling opportunities of materials available to industry in the short–term as well as the long–term. In order to achieve such a trade–off, it is suggested that the ‘End–of Waste’ criteria in South Africa be reconsidered and re–evaluated to ensure more legal certainty with regard as to exactly constitutes waste and to provide for a definition of ‘waste’ which is clearly defined.
Thesis (M. Environmental Management)--North-West University, Potchefstroom Campus, 2012.

Qu’est-ce que l’art ? Qu’est-ce que l’art (d’)après l’art contemporain ? Cette thèse de doctorat part du constat d’un changement paradigmatique dans l’évolution artistique, et tend à analyser la cause et la nature même de la crise dite de l’art contemporain en France dans les années 1990 du siècle dernier. L’ensemble des débats conduit par la suite nos recherches à des questions essentielles liées à la définition de l’art, aux modes d’existence des œuvres et à la fonction artistique. C’est une approche ontologique avec un esprit analytique sur l’identité de l’art et de l’art (d’)après l’art contemporain
What is art? What is art after and according to contemporary art? This PHD dissertation starts with the observation of a paradigmatic turn in artistic evolution, and tends to analyze the cause and the very nature of the so-called "crisis of contemporary art" in France in the 90s of the last century. All of the debates subsequently lead our research into the essential questions related to the definition of art, the existence modes of works, and the artistic function. It is an ontological approach with an analytic spirit on the identity of art and art after and according to contemporary art

Boston University. University Professors Program Senior theses.
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2031-01-02