Este trabalho parte de uma reflexão acerca da noção de espaço público a fim de debater, em dois níveis, tal conceito. Em uma primeira problematização, buscaremos evidenciar a dimensão de gênero presente na acepção dominante de espaço público ao questionar os parâmetros históricos de constituição da dicotomia público-privada como uma tecnologia de produção de espaços generificados tradicionalmente cindida entre homens-públicos e mulheres-privadas. A discussão sobre a instauração destas esferas separadas é tratada à luz da história, geografia e teoria feminista, bem como dos recentes estudos que associam as teorias de gênero a reflexões do campo da arquitetura e urbanismo. Em um segundo nível de argumentação, buscaremos vislumbrar de que maneira um modelo agonístico de democracia, preconizado por Chantal Mouffe (2013) pode ser posto em marcha a partir de práticas artísticas críticas que evidenciam o caráter sempre dissensual e disputado do espaço público. Ao considerá-lo enquanto lócus de disputas, a arte crítica (MOUFFE, 2013; RANCIÈRE, 2012) produzida em espaços urbanos por artistas feministas desponta como possibilidade de produção de dissensos (RANCIÈRE, 1996) que tornam visíveis os limites da noção hegemônica e consensual pressuposta nos termos de espaço público. A partir de imagens produzidas em performances realizadas em diferentes espaços públicos, apresentamos quatro montagens de imagens de quatro artistas visuais como modo de tramar relações visuais e teóricas que emergem da contestação pública destas ações. As montagens são analisadas à luz dos conceitos de práticas artísticas agonísticas (MOUFFE, 2013), dissenso (RANCIÈRE, 1996) e partilha do sensível (RANCIÈRE, 2009) / This work starts from a reflection about the notion of public space in order to discuss it, at two levels. In a first level, we seek to highlight the gender dimension within the dominant common sense of public space by questioning the historical parameters of constitution of the public-private dichotomy as a technology producing gendered spaces, traditionally divided between public men and private women. The establishment of these separate spheres is approached in the light of feminist history, geography, and theory, as well as recent studies that associate gender theories within the architecture and urbanism fields. In a second level of argumentation, we seek to see how an agonistic model of democracy, advocated by Chantal Mouffe (2013), can be set off from critical artistic practices that evidence the ever dissensual and disputed character of public space. In considering it as a locus of disputes, the critical art (MOUFFE, 2013; RANCIÈRE, 2012) produced in urban spaces by feminist artists emerges as a possibility of dissent production (RANCIÈRE, 1996) that makes visible the limits of the hegemonic and consensual notion assumption in the hegemonic terms of public space. Starting from images produced in artistic performances performed in different public spaces, we present four montages of images of four visual artists as a way of plotting visual and theoretical relations that emerge from the public contestation of these actions. The assemblies are analyzed in the light of the concepts of agonistic artistic practices (MOUFFE, 2013), dissent (RANCIÈRE, 1996) and the distribution of the sensible (RANCIÈRE, 2009)

Orientador: Aurea Maria Guimarães / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-04T20:15:51Z (GMT). No. of bitstreams: 1 Rechia_TaniaMaria_D.pdf: 1398977 bytes, checksum: aa47f23dcee442d2232b84bd84cf8d93 (MD5) Previous issue date: 2005 / Resumo: Este estudo trata do imaginário da violência a partir do filme Minha vida em cor-de-rosa, de Alain Berliner. Define-se como uma pesquisa qualitativa, baseada nos pressupostos da fenomenologia. A partir das descrições de algumas seqüências do filme, escolhidas intencionalmente, procedeu-se a uma reflexão que buscou compreender e não explicar uma das modulações da violência, isto é, a violência sutil que impõe determinados papéis sociais. Os sentidos produzidos dizem respeito ao mito de Dionísio e à vítima expiatória ¿ sentidos que nos levam a pensar que, apesar de nossa vida ser alicerçada em artifícios que produzem padrões comportamentais exemplares veiculados pelo cinema e pela televisão, há também possibilidade de recriar esses sentidos e escapar de todo domínio e controle, uma vez que os modos de socialidade existentes não são os únicos e nem tampouco definitivos / Abstract: This study deals with violence imagery, as exposed in Alain Berliner¿s motion picture Ma vie en rose, and is defined as a qualitative research based on phenomenology presuppositions. From the description of some intentionally chosen scenes of that film, a reflection was made to understand, not to explain, one of violence¿s modulations, i. e., the subtle violence that imposes certain social roles. Senses produced refer to Dionysius myth and to expiatory victim ¿ senses that lead to think that, no matter how our life is founded on artifices that produce exemplar behavioral patterns transmitted by movie and TV, there is also the possibility of recreating those senses and of escaping all domain and control, for existing sociality ways are not the only nor definitive ones / Doutorado / Educação, Sociedade, Politica e Cultura / Doutor em Educação

The role of architecture, public space and a valid architectural expression in the African City were all issues that were explored in the dissertation. It is a speculative work that proposes strategies and tactics and looks at a city beyond architecture, in which the emphasis shifts from urban forms to urban processes. The strategies were implemented on Paul Kruger Street to explore the possibilities of what an African City could or should be. / Dissertation (MArch(Prof))--University of Pretoria, 2008. / Architecture / unrestricted

Developing a point of orientation whereby users can navigate the Pretoria inner city. Integrating public resources to promote efficient and integrated public service delivery. Gateway to mark entry to the city at Boom street, along Paul Kruger street to act as a catalytic intervention for the regeneration of the northern district. / Dissertation (MArch(Prof))--University of Pretoria, 2008. / Architecture / unrestricted

This thesis focuses on the active dialogue between the visual storefront/building edge and the adjacent public space. Pretoria's inner city arcades are the public spaces of the city. However, the current design of most of the defining edges presents very few opportunities for lingering. In most cases the dialogue between interior and exterior has died down, causing a loss in commercial activity. The study investigated how specific design features of the visual storefront edge influence the city dweller's experience of the surrounding public space and associated commercial activity. Insights gained through mapping and studying various arcades and thoroughfares were reworked for incorporation into a document - called Edge handbook - that provides guidelines for bringing the storefront edge to its full potential when seen in relation to its surrounding public space. The guidelines were implemented in a detailed design proposal for President Arcade. The reality of the inner city is that the arcades and thoroughfares are city dwellers' main form of public space, which thus calls for a redefinition of the economic retail ideal. It was found that the storefront edge cannot be seen as an entity separate from the surrounding public space and therefore does not justify merely giving the retail tenant as much clear display area as possible. The needs of the urban city dweller - for example, to observe a variety of activities and exert a choice in the level of exposure - must be considered and used to guide the design of the edge within an inner city arcade. The treatment of this edge can re-establish a sense of place, previously lost. A strong sense of identity associated with the edge can furthermore help to orientate the dweller within the urban fabric. This treatment also functions the other way around: a public space where city dwellers feel comfortable and which satisfies their social needs can make them more aware of the edges surrounding them. The design therefore cannot focus only on the public arcade space or the storefront edge, but it is the dialogue between the two that will determine if the space becomes a destination for the city dweller, rather than just another thoroughfare. Copyright / Dissertation (MInt(Prof))--University of Pretoria, 2010. / Architecture / unrestricted

This dissertation is about the stories people tell about animals when they don’t do what they are expected to do in contemporary social life. More specifically, it examines three case studies where “wild” animals unexpectedly challenge, transgress, or blur socially defined boundaries in public spaces. Drawing on cultural and interactionist studies of animals and environment, I explore popular animal stories written in news media, social media, and enacted in situ. Each qualitative case study illustrates a moment in time/space where the surprising movements or presence of wild animals causes the cultural categories of wildness/order to breakdown and destabilize. These “surface breaks” of social expectations provide an occasion to tell “animal stories.” Animal stories help people explain how the lives of animals can be allegorical strategies modern people use to communicate and enact moral lessons about the social world. In the first chapter, I analyze news stories that emerged after Terry Thompson, an eccentric and estranged war veteran, released 54 exotic animals from his private 73-acre farm near Zanesville, Ohio. I suggest that when wild things challenge our taken-for-granted reality, people turn to mythical stories of fantasy to distract themselves from the more obvious social issues at hand. In the second chapter, I reconstruct the story of one feral Rhesus Macaque monkey whose adventure through Tampa Bay inspired extensive reporting in both social media and traditional news media. I suggest that the monkey’s story was akin to a mythical tale of American heroism. As an emblem of “good ol’ American Freedom,” his glorified feats of escape inspired a monkey loving populace to elevate his status to a celebrity-hero, with big government as the evil villain hunting him down. In this way, public debate surrounding the monkey’s life story beckons us to reflect on the role of liberty and repression in American discourse. Lastly, in the third chapter, I draw on ethnographic field notes to show how animals are understood and talked about by visitors in a Manatee Viewing Center in central Florida. I examine how animals challenge social expectations in everyday life situations, and how these breaches lead to situational storytelling and coordinated social activity. I suggest that animals can become messengers of a sacred nature, which is celebrated in the social performance of wildlife viewing. In conclusion, I follow Levi-Strauss (1966) to argue that animals are “good to think with” because they provide people with an “animal mirror” to look at themselves (Haraway 2008). Furthermore, I indicate that hidden meanings in animal stories inform how people think, feel, and act towards animals in different social contexts, and are thereby reinforced through cultural, institutional, organizational, and personal practices. Animal stories have power because they are often translated into modes of activity and used to realize people’s hopes and fears. In other words, animal stories are alternative forms of wildlife management that act to segregate animals from particular social activities, and designate them to appropriate places in society. Findings from this dissertation are not limited to animals, and may be applied to various cultural logics and socially defined boundaries.

This master's thesis examines the delineation of a community garden centre including technical and applied theory, which is then incorporated into a functional model. The theoretical part focuses on the creation of community garden centre and the characterization of accompanying aspects from sociology, public spaces, environmental education, legislation and other topics. The second part of this thesis examines applied theory, focusing on the conversion of theoretical knowledge into a functional model of community garden centre. The model is created within a unified strategy and according to public demand. The informatical basis for deciding outputs includes local analysis, SWOT analysis and demand analysis.

This dissertation examines the potential dependence of praxis upon poiesis. The relation between praxis and poiesis, or action and work, is complicated by the conflicting qualities and principles of each. This tension, however, illuminates the human being as free and worldly. It is therefore concluded that praxis and poiesis form an interdependent tension that is potentially mediated by the faculty of judging and care for the world. Chapter 1 serves as an introduction to the framework and significant elements of Arendt's overall project. It begins with an elucidation of the philosophical bias against politics that Arendt critiques. The rest of the chapter explores the unique characteristics and principles that Arendt attributes to each respective activity of the vita activa. This chapter enables the reader to grasp the significance of the differences that Arendt accentuates between activities, as well as the specific characteristics and principles of action and work. Chapter 2 introduces the potential dependence of action upon the capabilities of the work activity. It centres on the relationship between action, the condition of plurality, the public space of appearance, and the durable, fabricated world. The durable world provides both a shared context and shared concern for potential action and the realisation of plurality. But this is problematic considering the extent to which the durable world arises through fabrication. This suggests that action is subordinate to the faculty of work. The problematic implications of such a relationship are further analysed, with a focus on the principles that inform homo faber's view of the world in general, and the relation between this sensibility and public spaces of appearance in particular. The contradictory principles of work and action, and yet the significance of work in building a durable world, will come to light. Chapter 3 explores further the extent of the relationship between action and world. The aim is to provide an exegesis of Arendt's notion of amor mundi, or love for the world, coupled 132 with her emphasis on the frailty of action. Amor mundi illuminates actors' concern with the world as a space for appearance and as a durable world. However, the extent to which political actors may effectively care for the world is brought into question. The faculties of promisemaking, forgiveness, and remembrance are examined as 'solutions' to the frailty of action. But remembrance once again suggests a dependence of action on work. The chapter concludes with a discussion on the relationship between praxis and poiesis in light of the role of remembrance and the tension between freedom and permanence. Chapter 4 builds on the claim that praxis and poiesis must be rethought in terms of an interdependence that reflects the nature of human being as free and worldly. It is argued that it is specifically in the faculty of judgment that this interdependence is mediated. The role of the disinterested spectator is therefore introduced and its relevance in both praxis and poiesis investigated. This faculty emphasises the importance of spectators who judge all appearances on the basis of beauty and meaning, and out of a concern for the world as a durable public space. The relation between judgment, action, and work also illuminates the condition of the human being as free and worldly, and the capacity to care for the world through the activities of both beginning and preserving. / Dissertation (MA)--University of Pretoria, 2011. / Philosophy / unrestricted

Skaters occupy spaces around the city, and they navigate their surroundings with an analysing gaze that differs from the average person’s perception of the city. They see possibilities in ordinary objects such as a curb, bike rack or planting pot and give these objects a new purpose and meaning. In this essay I aim to investigate and describe how the skaters of Umeå view their city. What are the places they prefer, and how do they value their surroundings. By interviewing skaters and observing the places they roam their experiences as skateboarders and active utilizers of the city will be put into the perspective of public space and the purpose of it as a whole. Can providing skateboarders with environments they enjoy be used as a tool to activate public spaces in the city and thus create more including spaces? The result shows that skaters are deeply investigated into the urban fabric of their city and that there are several places around Umeå in which they enjoy dwelling. It reveals that beyond the physical design and architecture of skatespots, the social structures and the senses of place are values that skaters highly regard. However, some of Umeå’s more central public spaces doesn’t provide the conditions that skateboarders crave, and they give their opinion on how these public spaces can better suit skateboarding. Keywords: Skateboarding, public space, urban architecture, including design

The thesis explores the existing urban landscape of Jeppestown, specifically with regard to the consequences of the hijacking of inner-city buildings for residential purposes. The aim is to reclaim public space from the post-industrial landscape and reconfigure the existing fabric, by means of a fragile intervention so as to connect the social realm with the built fabric. The project accepts the hijacked typology of urban living as part of the context. It is viewed as an existing and ongoing condition, which far exceeds the current capacity of state-funded housing. From this stance, the project aims to provide public services that celebrate the rituals of washing in a meaningful and accessible way. The project endeavours to utilise theories related to African space to address local contemporary urban issues contextually. It uses the rituals of the everyday as a muse for creating eventful public space, an amenity which is becoming increasingly important with the growing densities of South Africa’s cities. / Dissertation (MArch(Prof))--University of Pretoria, 2014. / Architecture / MArch(Prof) / Unrestricted