Relevant bibliographies by topics / Writing craft

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Writing craft'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Writing craft"

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Mayers, Tim. "(Re) Writing Craft." College Composition and Communication 51, no. 1 (September 1999): 82. http://dx.doi.org/10.2307/358964.

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Kafadar, Karen, Michael Alley, and Nicholas J. Higham. "The Craft of Scientific Writing." Journal of the American Statistical Association 92, no. 440 (December 1997): 1655. http://dx.doi.org/10.2307/2965457.

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Gottlieb, Jack, Sheila Davis, and Stephen Citron. "The Craft of Lyric Writing." American Music 7, no. 3 (1989): 326. http://dx.doi.org/10.2307/3052078.

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Shea, J. J. "The Craft of Science Writing." IEEE Electrical Insulation Magazine 14, no. 6 (November 1998): 43. http://dx.doi.org/10.1109/mei.1998.730822.

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Vojta, G. "The Craft of Scientific Writing." Zeitschrift für Physikalische Chemie 202, Part_1_2 (January 1997): 301. http://dx.doi.org/10.1524/zpch.1997.202.part_1_2.301.

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McGuckin, Richard S. "The craft of scientific writing." Journal of Prosthetic Dentistry 61, no. 2 (February 1989): 258. http://dx.doi.org/10.1016/0022-3913(89)90399-5.

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Lackstrom, John E. "The craft of scientific writing." English for Specific Purposes 10, no. 3 (January 1991): 248–50. http://dx.doi.org/10.1016/0889-4906(91)90029-v.

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Campbell, Randolph B., and Lloyd E. Ambrosius. "Writing Biography: Historians and Their Craft." Journal of Southern History 71, no. 4 (November 1, 2005): 960. http://dx.doi.org/10.2307/27648978.

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Etulain, Richard W. ":Writing Biography: Historians and Their Craft." American Historical Review 110, no. 4 (October 2005): 1120. http://dx.doi.org/10.1086/ahr.110.4.1120.

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Paraskevas, Cornelia. "The Craft of Writing: Breaking Conventions." English Journal 93, no. 4 (March 2004): 41. http://dx.doi.org/10.2307/4128979.

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Dissertations / Theses on the topic "Writing craft"

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Furgerson, Susan Paige. "Teaching the writers' craft through interactive writing: A case study of two first grade teachers." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1101760120.

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Ocampo, Maritza. "On Bike Riding and Writing." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/213.

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What follows are the motivations and desires behind my writing and why I chose to pursue writing in the first place. This paper not only gives context to my creative stories, but it also functions as a self-portrait, a glimpse of the writer behind the text. In this paper, I speak of my experiences of growing up in a marginalized group, of being a daughter of Mexican immigrants and a member of the working class. I explain how those experiences helped shape the content and voice that I portray in my collection of short stories called, Somewhere Between Here and There. This collection of short stories emerged at the start of my graduate program but it was a project that was slowly accumulating over the years. The collection centers on the invisibility of a Latino community and dramatizes the challenges that they face as individuals and as a group. Many of my characters face challenges both at an individual and institutional level that causes fragmentation. In the end, each character tries to cope with their situation while trying to find and discover a sense of self and belonging in the world.
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Ristow, Ben W. "Creative Writing Joins Rhetoric and the Public Arts: A Comparative Study of Craft, Workshop, and Practice Beyond English Studies." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/243114.

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Creative Writing Joins Rhetoric and the Public Arts: A Comparative Study of Craft, Workshop, and Practice beyond English Studies analyzes the field of creative writing through the lenses of classical rhetorical scholarship, aesthetic theory, and craft criticism in the arts. Through a historical analysis of techne (craft or method) and telos (end or final cause) in the work of Aristotle and Plato, I argue that what we call "craft" often suffers from a limiting definition that privileges formal and material constraints over the more vital concerns of knowledge and consciousness reflected in artistic education. Craft knowledge is demonstrated through the processes of art-making internalized by the student apprentice. No matter the form or discipline, craft practice embodies the processes and consciousness that make art education possible. The dissertation analyzes concepts of craft as technique while revealing how artistic method illuminates the ends to which art serves. Craft consciousness, a term outlined in this dissertation, is defined as an awareness of artistic method and practice across disciplinary boundaries. If applied by teachers and students of creative writing, this consciousness will redefine writing workshop, curriculum design, programmatic elements, and the mission of creative writing as an academic discipline. By shifting the field toward the craft principles shared with the performing and fine arts, the dissertation uses rhetoric and public arts as lenses for reimagining the mission of creative writing more broadly as a discipline simultaneously engaged with democratic and occultic principles. In proposing an alternative approach to traditional writing workshop by examining author-function, this dissertation also draws from Paulo Freire's term "nuclei of contradiction" in order to argue for a pedagogy that attends to the inherent contradictions that form the foundation of creative writing culture. Freire's "critical consciousness" informs the term "craft consciousness" and the latter term forms the scaffolding in which to reimagine educational principles in creative writing. In order to reimagine craft and workshop practices in traditional and virtual spaces, this dissertation examines how theories, histories, and practices in craft will transform creative writing into a field grounded in artistic practice and intellectual inquiry.
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Petitjean, Anne-Marie. "La littérature sur le métier : Étude comparée des pratiques créatives d’écriture littéraire dans les universités, en France, aux États-Unis et au Québec." Thesis, Cergy-Pontoise, 2013. http://www.theses.fr/2013CERG0674.

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L’ancrage universitaire de la tradition des ateliers d’écriture est souvent ignoré en France, alors qu’il est clairement établi pour les Etats-Unis. Les histoires des pratiques créatives d’écriture littéraire s’écrivent donc de manière différente, en mettant en jeu des conceptions de la littérature que cette étude cherche à comparer. La considération des sphères linguistiques et la question des dynamiques internationales d’expansion des pratiques exigent l’examen particulier des cursus québécois. Comment peut-on caractériser ces différentes formations ? Quelles représentations de l’auteur, du processus rédactionnel, de la créativité ou de l’œuvre véhiculent-elles ? Quelles forces de tension et de mutations se dessinent-elles ? Sur les plans diachronique et synchronique, et en étayant l’enquête bibliographique de questionnaires systématiques et recueil de données sur le terrain, la comparaison envisagera ses repères épistémologiques et l’état actuel des ressources, que les traductions des citations cherchent à rendre accessibles aux francophones
The university grounding of the tradition of writing workshops is often ignored in France while it is clearly established in the United States. The stories of the creative practices of literary writing are thus handled differently and bring into play different views of literature which this study seeks to compare. The issue of the linguistic areas and the question of the process of the international extension of those practices particularly require to consider the Quebec courses. How can these different training courses be characterized? Which representations of the author, of the writing process, of creativity or of the work do they convey? Which tension and change currents emerge? On the diachronic and synchronic levels and by backing up the bibliographical survey with systematic questionnaires and collections of in-the-field data, the comparison will contemplate its own epistemological landmarks and the current state of resources which the translations intend to make accessible to French speakers
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Poppel, Stephen M. "Writing, and Reading, about Salman Schocken." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2014. https://slub.qucosa.de/id/qucosa%3A35048.

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Yiu, Man Ting. "“Are We What We Eat?” Negotiating Identities Through Cuisine and Consumption : A Thing Theory Approach to Alison Wong’s As The Earth Turns Silver." Thesis, Stockholms universitet, Engelska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-157507.

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Culinary narratives are frequently employed to portray migrant identities and societies in Asian diaspora literature This thesis examines cuisine and consumption in Alison Wong’s As The Earth Turns Silver by highlighting the socio-political linkages between material culture and ethnic identity formation of Chinese migrants in New Zealand. Using Brown’s thing theory, food is reframed as site of meaningful discourse to interrogate the role of cuisine and consumption in mediating the migrant experience. It demonstrates the material and cultural importance of food in facilitating ethnic and political identification, transcultural exchange, and independence for frequently oppressed migrant individuals in diaspora literature.  Conversely, food functions as vectors of aggression in racialising the ethnic other by communicating artificial notions of morality, national identity, and purity to reinforce the hegemony. Additionally, culinary objects facilitate how characters articulate their dislocation and fragmentation as hybrid individuals. Finally, I undertake a craft analysis of Wong’s novel by drawing connections between Wong’s hybridity and her narrative design. I use thing theory to demonstrate how characters use culinary objects to negotiate hybridity while the application of transference technique reveals the way material objects are embedded with abstract emotions to communicate writer and character ethnic subjectivity. Findings from the critical analysis are applied to my short story collection Raw. Thing theory provides the theoretical framework for the practical application of transference in my creative thesis, demonstrating its efficacy in improving craft. The creative thesis demonstrates the applicability of theory in creative practice. Finally, it offers an analytical framework for contextualising food as a site of discourse for hybridized identity politics in diaspora literary criticism.
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Lee, Eunji (Jubee). "After the big wind stops I see gentle waves." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5367.

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This thesis covers my reflections on the inspirations and the motivations behind selected works including my candidacy exhibition; Resonance and my thesis exhibition; after the big wind stops I see gentle waves. It contains my life throughout my MFA studies and the development of my art practice. Through its story-within-a-story method of narration and my describing streams of my thoughts, I am attempting to explain the processes of my development and the discoveries I have made, the little things in my daily life, and the big turning points that inspired me. My work and this document have been strongly determined by my poetic imagination and the emotional events and experiences I have had.
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Riviere, Francois. "Travail et métiers en Normandie à la fin du Moyen Âge : institutions professionnelles et régulation économique." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0022.

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Dans la Normandie médiévale, à partir de la fin du XIIIe siècle, le terme de métier peut désigner une catégorie d’institutions professionnelles reconnue par les contemporains. À partir de cette époque, les modalités d’application de la réglementation économique propre à ces métiers émergent dans la documentation. Elles se caractérisent notamment par le rôle de gardes désignés avec la participation du groupe professionnel régulé. Cette évolution accompagne la deuxième révolution de l’écrit, qui accentue la mise par écrit des normes. Les statuts de métiers, qui fixent le fonctionnement d’organisations professionnelles, s’intègrent dans le développement d’une réglementation plus détaillée, dont la diffusion géographique est corrélée à la hiérarchie urbaine. Le recoupement des sources normatives avec les archives judiciaires et comptables a permis de compléter le panorama des institutions de métiers normandes, qui inclut des bourgs comme Elbeuf ou Neufchâtel-en-Bray, voire des activités rurales comme la poterie ou la métallurgie. L’analyse quantitative d’un corpus couvrant 60 ressorts juridictionnels atteste sa représentativité et suggère une diversification des institutions de métiers, au-delà des biais documentaires qui ont parfois trompé l’historiographie, notamment à propos de la conflictualité. L’amélioration des sources disponibles autorise des études de cas sur Rouen, mais aussi sur la seigneurie de Louviers, sur les baronnies d’Elbeuf et de Roncheville et sur la minière de Beaumont à Saint-Rémy-sur-Orne. Les comparaisons révèlent les limites de l’autonomie des organisations de métiers dans la sanction des règles professionnelles, malgré quelques exceptions comme les juridictions corporatives du maître des férons de Normandie ou du prévôt des tanneurs de Rouen. Cependant, l’expertise sur la qualité et sur la qualification, tout comme les procédures d’entrée en apprentissage et de maîtrise, paraissent souvent échapper aux autorités jusqu’à la fin du XIVe siècle, et le recours aux juridictions supérieures reste fluctuant au XVe siècle. L’identité des organisations de métiers se polarise autour de leurs gardes, assermentés devant les autorités, plutôt que de se cristalliser dans des communautés dont les contours restent mouvants. De ce fait, l’action collective des groupes professionnels ne se formalise que très progressivement et sort souvent du cadre des institutions de métiers, même si la consultation des communautés est une étape importante dans la genèse de la réglementation professionnelle. La formalisation des institutions de métiers relève d’un développement du droit écrit, dont les usages par des associations professionnelles ou par les autorités varient en fonction des circonstances
In medieval Normandy, from the end of the XIIIth century, the word métier (craft) could refer to a category of profession-based institutions that were clearly identified by the contemporary society. Dating from that period, the documentation also sheds a new light on the modes of enforcement of the economic rules which are particular to these craft institutions. Among their main characteristics was the role of craft officers (gardes du métier) who were appointed in agreement with the craft group. This evolution goes with the second "writing revolution" which developed the use of written norms. In this study, craft rules are therefore defined as a type of source which sets the structures of craft organisations. The development of this type of source was only part of the expansion of more detailed professional rules, whose geographic diffusion reflects the urban hierarchy. Judicial sources and accounts completed those normative sources and broadened the spectrum of craft institutions by including small towns like Elbeuf or Neufchâtel-en-Bray, as well as rural activities like pottery or metallurgy. The quantitative analysis of sources covering over 60 jurisdictions shows their representativity and a growth that does not entirely come from documentary biases. The diversity of places and activities ruled by craft institutions grew at the end of the Middle Ages. Better sources make case studies possible not only in Rouen but also in the jurisdictions of Louviers, of Elbeuf, of Roncheville and of the mine of Beaumont at Saint-Rémy-sur-Orne. The comparisons reveal how limited the autonomy of craft organisations concerning the enforcement of rules could be, despite a few exceptions like the master of the ironworkers of Normandy or the provost of the tanners of Rouen who had jurisdiction over their peers. However, until the end of the 14th century, the authorities seemed to lack control over the expertise on the quality of goods and on qualification, as well as over the formalities required for becoming an apprentice or a master. Even in the 15th century, the superior courts did not always intervene in such cases. The identity of craft organisations revolved more around their officers, who were sworn before higher authorities, than it depended on the shifting boundaries of the working communities. As a consequence, the collective action of workers very slowly took a formal aspect and often took place outside the craft institutions. Nevertheless, craft communities were consulted as a group about their rules. The development of formal craft institutions at the end of the Middle Ages can be linked to the growing use of written laws that were claimed by professional associations or by the authorities according to the context
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Wilson, Conor J. R. "Writing_making : object as body, language and material." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1764/.

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A turn away from language and the human mind as the dominant (or only) determinants of reality can be identified within many disciplines, including anthropology, philosophy and literature, reflecting a growing acceptance of human and non-human, living and non-living entities as real, complex and partially withdrawn agents in the world. In Object Oriented Ontology the definition of object is extended to include humans, who have no special ontological status. Timothy Morton proposes rhetoric as a means of drawing closer to other objects, of contacting the ‘strange stranger’; objects cannot be known directly, or fully, but can be explored through imaginative speculation. Drawing on Object Oriented Ontology, my project explores making - an intimate engagement between body and material - as a means of thinking the body as a (strange) object within a mesh of strange objects. Facture is documented as image and language, prompting a series of shifting, speculative questions: • Can writing be brought to making to generate new new approaches to craft production? • How might writing in response to making, or objects, be reintroduced into a making process as a form of feedback? • Can writing_making methods generate new approaches to writing (about) making and materials? • How might a combination of production, documentation and reflection be displayed as artwork/research? • Can making be seen as a means for contacting the ‘strange stranger’?
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Zaaraoui, Karima. "Tours et détours du genre : les avatars de l'écriture féminine africaine américaine autour de Harriet Jacobs, Harriet Wilson et Hannah Crafts." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015PA030003.

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L’étude comparative de Incidents in the Life of a Slave Girl (Harriet Jacobs), Our Nig ; Sketches from the Life of a Free Black (Harriet Wilson) et The Bondwoman’s Narrative (Hannah Crafts) s’attache à ouvrir de nouvelles perspectives sur la singularité du sujet féminin noir dans les anfractuosités de l’écriture autobiographique du récit d’esclave. Si ces femmes auteurs se constituent en témoins privilégiés de la condition féminine noire de l’Amérique « antebellum », elles n’engagent pas moins leur plume dans l’activisme. L’enjeu de cette thèse est de revenir sur les liens entre écriture et féminin en prenant comme point de départ l’œuvre elle-même, fût-elle autobiographie ou fiction. La saisie de soi et du monde et la quête identitaire sont des thèmes fondamentaux de la tradition romanesque africaine américaine où des voix marquantes se succèdent. L’affranchissement du genre autobiographique s’affirme comme instance de survie où la mise en perspective de la fiction permet de révéler la vérité du sujet. Ainsi, la question du genre constitue la trame de ce panorama où sont examinés la nature du discours du sujet noir, l’écriture du corps féminin, et le théâtre « ima-gyn-aire » d’un sujet en crise. En véritable héritière de Dickens et Byron, Hannah Crafts s’attache à créer des correspondances entre les genres, tandis que Harriet Wilson adresse une lettre ouverte à Emerson et Harriet Jacobs subvertit le roman sentimental. Ces trois femmes situent, contre toute attente, l’esthétique du récit d’esclave au carrefour de la littérature autobiographique, sentimentale, gothique et picaresque. Nous verrons, à travers ce travail, que ce n’est pas tant l’anatomie qui distingue le sujet mais plutôt la façon qu’a le sujet de se ranger d’un côté ou de l’autre du genre ; le sujet féminin peut désormais évoluer dans un nouvel espace le libérant de l’emprise du masculin. Cette thèse est également l’occasion d’une réflexion sur la dialectique de l’historicité et la littérarité où l’engagement politique de l’auteur du récit d’esclave, qui est appelé à s’imposer comme littérature, invite à porter un nouveau regard sur la production littéraire féminine avant-gardiste, et ainsi donner un nouvel élan à la littérature africaine américaine
The comparative study of Incidents in the Life of a Slave Girl (Harriet Jacobs), Our Nig ; Sketches from the Life of a Free Black (Harriet Wilson), and The Bondwoman’s Narrative (Hannah Crafts) aims at opening up new perspectives on the specificity of the female subject, through the slave narrative’s autobiographical writing. If these women writers stand as privileged witnesses of the female condition in Antebellum America, they do not remain passive nonetheless. The aim of this dissertation is to approach the links between « writing » and « feminine », by taking into account the text itself, be it autobiographical or fictionalized. Significantly enough, self-consciousness, identity and the construction of a self through writing are definitely major components of the African American literary tradition in which outstanding voices are singled out. The slave narrative tends to drift away from autobiography in order to afford its survival and conforms to the conventions that proved successful, thus revealing the truth of the subject. In this perspective, gender is the key issue of this study which brings an exclusive insight on black women’s writing. Discursive difference, writing the female body, and a staged conflicted subject are the core themes of this work. As a follower of Dickens and Byron, Hannah Crafts creates a unique blend of genres, while Harriet Wilson’s modus operandi is to rewrite Emerson’s reflections on society, and Harriet Jacobs offers a subversion of the sentimental novel. By all means, these female slave narratives’ « tour de force » lies in the aesthetics and poetics of the genre located at the crossroads of autobiography, sentimental fiction, the gothic and the picaresque. The subject determines its own sexuation, which enables the female subject to break free from the male subject. This dissertation also offers the opportunity to raise the question of history and literature. The slave narrative falls within the frame of literature as the writer’s political stance is an invitation to reconsider avant-garde women’s literary production within the African American literary canon
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Books on the topic "Writing craft"

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The writing craft. 2nd ed. Raleigh, N.C: Contemporary Pub. Co., 1985.

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Stephen, Parker. The craft of writing. London: P. Chapman, 1993.

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Young, Pat. The craft of writing. [London]: Scutari, 1988.

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Saks, Sol. The craft of comedy writing. Cincinnati, Ohio: Writer's Digest Books, 1985.

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The craft of scientific writing. 3rd ed. New York: Springer, 1996.

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Newman, Judith. The craft of children's writing. Portsmouth, N.H: Heinemann, 1985.

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Chisholm, Alison. The craft of writing poetry. London: Allison & Busby, 1992.

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Saks, Sol. The craft of comedy writing. Cincinnati, Ohio: Writer's Digest Books, 1985.

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Alley, Michael. The Craft of Scientific Writing. New York, NY: Springer New York, 1996. http://dx.doi.org/10.1007/978-1-4757-2482-0.

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Alley, Michael. The Craft of Scientific Writing. New York, NY: Springer New York, 2018. http://dx.doi.org/10.1007/978-1-4419-8288-9.

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Book chapters on the topic "Writing craft"

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Faulkner, Sandra L., and Sheila Squillante. "Craft and Process." In Writing the Personal, 35–42. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-384-1_3.

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Dunkelberg, Kendall. "The Writing Process." In A Writer's Craft, 9–19. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-61096-6_2.

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Harper, Graeme. "Writing Craft and Skills." In Inside Creative Writing, 125–37. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1057/978-0-230-35841-6_11.

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Alley, Michael. "Writing Correspondence." In The Craft of Scientific Writing, 170–77. New York, NY: Springer New York, 1996. http://dx.doi.org/10.1007/978-1-4757-2482-0_12.

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Alley, Michael. "Writing Proposals." In The Craft of Scientific Writing, 178–94. New York, NY: Springer New York, 1996. http://dx.doi.org/10.1007/978-1-4757-2482-0_13.

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Alley, Michael. "Writing Instructions." In The Craft of Scientific Writing, 195–206. New York, NY: Springer New York, 1996. http://dx.doi.org/10.1007/978-1-4757-2482-0_14.

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Johnson, Kathryn L., and Pamela V. Westkott. "Teaching the Craft of Writing." In Writing Like Writers, 169–244. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003239642-6.

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Alley, Michael. "Using Your Writing Time Efficiently." In The Craft of Scientific Writing, 199–226. New York, NY: Springer New York, 2018. http://dx.doi.org/10.1007/978-1-4419-8288-9_10.

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Lockwood, Alex. "The Collaborative Craft of Creaturely Writing." In Beyond the Human-Animal Divide, 167–87. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-349-93437-9_9.

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Bose, Chandan. "Craft: Doing, Telling, Writing—Part 1." In Perspectives on Work, Home, and Identity From Artisans in Telangana, 59–88. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12516-5_2.

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Conference papers on the topic "Writing craft"

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Saurav, Sharma, and Mishra Pratibha. "Phad of the Phad: Reading and Writing of the Ritual Craft." In International Conference on Arts and Humanities. The International Institute of Knowledge Management, 2020. http://dx.doi.org/10.17501/23572744.2019.6103.

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Oliver, Sunit, James Hampshire, Martin Engber, and Alan Louie. "Optimized Gas Turbine Control System for Improved US Navy Landing Craft Air Cushion (LCAC) Operation." In ASME Turbo Expo 2017: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/gt2017-63651.

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The United States Navy has successfully operated their Landing Craft Air Cushion (LCAC) with Vericor’s ETF40B engines since 2001. The engines interface with the craft drivetrain through sprag clutches, which engage when the engine output is greater than the drive shaft speed. Historically, sprag clutch failures have been observed on multiple LCACs, resulting in craft downtime and associated repair & replacement costs. Subsequently, a US Navy investigation revealed the presence of high frequency, low level fluctuations in the shaft rotational speed when operated at steady state conditions. The study also suggested that the speed governor fuel control could excite these fluctuations and induce sprag clutch failure. The original speed governor gains were tuned for maximum transient performance, but not necessarily steady state stability. The aggressive gain selection resulted in a governor response that could be characterized as “hyper-reactive” where the system was willing to respond to even the slightest disturbance, including common drivetrain noise. The US Navy requested that Vericor modify the Full Authority Digital Engine Controller (FADEC) speed governor logic to improve steady state stability while maintaining an acceptable transient response. This paper summarizes the basics of ETF40B operation on the LCAC and describes the effort that improved the governor response. As of the writing of this paper, two (2) years have passed in which no sprag clutch failures have been observed on US Navy LCACs operating with the optimized speed governor.
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3

Viviane Do Amaral Veras, Maria, and Thatyane Vieira Furtado. "De Stephen King, “On Writing: A Memoir of the Craft” em tradução para o português, e a constituição de autoria e de escrita no contexto contemporâneo." In XXIII Congresso de Iniciação Científica da Unicamp. Campinas - SP, Brazil: Galoá, 2015. http://dx.doi.org/10.19146/pibic-2015-37877.

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4

Milovanovic-Bertram, Smilja. "Lina Bo Bardi: Evolution of Cultural Displacement." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.61.

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Abstract:
In recent years much has been written and exhibited regarding Lina Bo Bardi, the Italian/Brazilian architect (1914-1992). This paper aims to look at the phenomenon of cultural displacement and the dissemination of her design thinking as a major female figure in a male dominated profession. This investigation is distinguished from others in that it addresses the importance of regional and cultural influences that formed Lina’s design philosophy in her early years in Italy. Cultural displacement has long played a significant role in the creative process for artists. Often major innovators in literature are immigrants as elements of strangeness, distance, and alienation all contribute to their creativity. The premise is that critical distance is paramount for reflection as a change of context unfolds unforeseen possibilities. Displacement was a consistent element throughout the trajectory of Lina’s architectural career as she moved from Rome to Milan, from Milan to Sao Paolo from Sao Paolo to Bahia and back to Sao Paolo. Viewing this form of detachment and dislocation permits insight into her career and body of work as displacement mediates the paradoxical relationship between time and space. The paper will examine three distinct periods in her career. The first period is set in Rome, where she assimilated the city, showed artistic aptitude and spent her university years studying under Piacentiniand Giovannoni. The second period is set in Milan, where she developed impressive editorial and layout skills in publications work with Gio Ponti and BrunoZevi. and was influenced by Antonio Gramsci’s writings. The third is set in Brazil, where she builds and evolves as an architect via what she absorbed in Rome, wrote in Milan, and finally realized in Brazil. After Italy’s collapse in WWII Lina writes, draws, edits, critiques the plight of the Italians in need of better housing and circumstances. She leaves Milan with her new husband, PM Bardi (a prominent journalist, art critic) for Brazil. In Sao Paolo she absorbs the optimism and positive direction of Brazil. Her early design work in Brazil echoes European modernism, but when she travels to Bahia and becomes aware of the social conditions, she draws from her Italian experiences of and ideas of transforming lives through craft. Her architectural projects become directly responsive to the culture of Bahia and the politics of poverty. Lina’s design thinking evolves and parallels George Kubler’s study, The Shape of Time, and the history of man-made objects by bridging the divide between art and material culture.
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