The subject of this thesis is the comprehensive research and design of costumes for the play Ubu Roi by Alfred Jarry, including documentation of the creative process from the initial analysis of the play to the final designs. This play was written in the late 19th century and is considered to be a precurser to Surrealism and Theatre of the Absurd. The story is about the brief and tyrannical reign of a hideous, backward individual named Ubu, who comes to power by murdering the Polish king. The play is notable for its rough playfulness, ruthlessness with regard to social and cultural traditions, its open-mindedness and unique use of language. On the surface it comes across as a silly farce, but it contains many deeper undertones that cause Jarry to be sometimes regarded as a symbolist writer. This work is divided into a theoretical and practical part. The theoretical part deals with the author of the play, its content and the context in which it was written, and studies how it was staged in the past. It is not the aim to offer a coherent overview of the life of Alfred Jarry, his work, or the history of past productions of King Ubu. Instead, the information contained here is intended only as a documentation of the historical and theoretical research necessary to understand this work, which ultimately had an impact on the final designs. Part two documents the process of developing the costume designs themselves. Initially it introduces the key considerations that arose from reading the play that affected the overall progress of the work. There follows an analysis of the characters and situations based on the text, and sources of inspiration. The main section describes the final designs of the set and costumes that are supported by attached images.

Entre 1940 e 1943, na procura de uma imagem condizente com sua condição de Capital de Estado e tentando acompanhar as grandes transformações urbanas que ocorriam na época, Curitiba contrata o arquiteto e urbanista francês Donat-Alfred Agache (1875-1959), que recém executara o Plano do Rio de Janeiro (1927), para elaborar o Plano de Urbanização para Curitiba. Fato que acaba se tornando o primeiro grande impacto urbano-arquitetônico na sociedade paranaense do século XX. A presente dissertação contextualiza essa proposta urbanística, a partir da formação profissional de Agache na Europa, sua participação na Sociedade Francesa de Urbanistas, o modo didático de fazer urbanismo, sua experiência no Rio de Janeiro e demais trabalhos no Brasil. Além de um simples Plano de Urbanização para Curitiba, Agache demonstra técnica e habilidade em enfrentar problemas e hábitos sociais, características que impõem sua ampla visão de cidade. O processo desencadeado por Agache em 1943, comparado com a realidade urbana anterior, revoluciona a relação entre o homem e seu meio na forma de ver e fazer arquitetura urbana, acontecimento que deixa um legado cultural paradigmático, com inúmeros desdobramentos, fundamental para o urbanismo da Cidade de Curitiba.

My dissertation explores the ecological implications of a process metaphysics, focusing in particular on subjectivity. Primarily using the work of Whitehead and Deleuze, I explore how taking a process metaphysics seriously undoes the assumption that an individual self is a discretely bounded and independent subject. I argue that this framework troubles expansive identifications of the self with a unified whole that one finds in some metaphysically inflected strands of environmental thought (for example Deep Ecology). Instead, it encourages an orientation towards the qualitative and affective aspects of micro-relational moments, since these are the most ‘real’ metaphysically. Macro-level entities such as the self (as well as other ‘wholes’) are understood as abstractions from these primary occasions. I consider the existential impacts of taking these views seriously, in particular with regard to the transformed standing of tertiary or affective qualities that follows from the metaphysical view developed. / 10000-01-01

Entre 1940 e 1943, na procura de uma imagem condizente com sua condição de Capital de Estado e tentando acompanhar as grandes transformações urbanas que ocorriam na época, Curitiba contrata o arquiteto e urbanista francês Donat-Alfred Agache (1875-1959), que recém executara o Plano do Rio de Janeiro (1927), para elaborar o Plano de Urbanização para Curitiba. Fato que acaba se tornando o primeiro grande impacto urbano-arquitetônico na sociedade paranaense do século XX. A presente dissertação contextualiza essa proposta urbanística, a partir da formação profissional de Agache na Europa, sua participação na Sociedade Francesa de Urbanistas, o modo didático de fazer urbanismo, sua experiência no Rio de Janeiro e demais trabalhos no Brasil. Além de um simples Plano de Urbanização para Curitiba, Agache demonstra técnica e habilidade em enfrentar problemas e hábitos sociais, características que impõem sua ampla visão de cidade. O processo desencadeado por Agache em 1943, comparado com a realidade urbana anterior, revoluciona a relação entre o homem e seu meio na forma de ver e fazer arquitetura urbana, acontecimento que deixa um legado cultural paradigmático, com inúmeros desdobramentos, fundamental para o urbanismo da Cidade de Curitiba.

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Entre 1940 e 1943, na procura de uma imagem condizente com sua condição de Capital de Estado e tentando acompanhar as grandes transformações urbanas que ocorriam na época, Curitiba contrata o arquiteto e urbanista francês Donat-Alfred Agache (1875-1959), que recém executara o Plano do Rio de Janeiro (1927), para elaborar o Plano de Urbanização para Curitiba. Fato que acaba se tornando o primeiro grande impacto urbano-arquitetônico na sociedade paranaense do século XX. A presente dissertação contextualiza essa proposta urbanística, a partir da formação profissional de Agache na Europa, sua participação na Sociedade Francesa de Urbanistas, o modo didático de fazer urbanismo, sua experiência no Rio de Janeiro e demais trabalhos no Brasil. Além de um simples Plano de Urbanização para Curitiba, Agache demonstra técnica e habilidade em enfrentar problemas e hábitos sociais, características que impõem sua ampla visão de cidade. O processo desencadeado por Agache em 1943, comparado com a realidade urbana anterior, revoluciona a relação entre o homem e seu meio na forma de ver e fazer arquitetura urbana, acontecimento que deixa um legado cultural paradigmático, com inúmeros desdobramentos, fundamental para o urbanismo da Cidade de Curitiba.

Thesis (Masters Diploma (Town and Regional Planning- Environmental Management))--Cape Technikon, Cape Town,1990 / This report proposes a strategy for the development Port Alfred situated on the south east coast of the Province, South Africa. of cape The proposed development strategy takes cognisance of the importance of integrating development harmoniously with the environment. The study is not related to any particular development proposal but is rather a guide to future development and the identification of potential environmental hazards. Moreover, it could serve as a set of guidelines for land use planning and management at the urban scale anywhere in South Africa. The evaluation methods used are adapted from widely acceptable analysis techniques and include a combination of both the matrix and the overlay or "sieve" method which graphically analyses physical attributes. The study eminates from the Port Alfred Municipality's concern that demand for development could destroy the town's environmental quality and historical character which are seen as major tourist attractions. The report is divided into two sections, the first being to acquaint the reader with the area, it's constraints and potential. section 1 critically evaluates the existing physical, socio-economic and cultural environments of the town. The second part of the report (Section 2), combines the analysis of the physical and socio-economic environments into an Urban structure Plan and management proposals which provide a basis for the spatial management and control of future land use development proposals. The management proposals are based on the Integrated Environmental Management procedure advocated by the council for the Environment which is adapted to suit local conditions and includes the use of a three stage "proposal call" system which is seen to ensure an equitable balance between the demand for development, public participation and conservation of the town's biotic and abiotic environments. The "proposal call" system has been successfully employed in the United states of America for some years and was adopted by the cape Town city council in 1985 for disposing of council-owned land in a manner most acceptable to itself and the community. By combining both the principle of Integrated Environmental Management and the "proposal call" system Port Alfred should be assured of a future planning strategy which will both enhance development and promote environmental conservation thereby assuring the maintenance of environmental quality.

Orientador: Marcelo Esteban Coniglio / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-10T04:02:35Z (GMT). No. of bitstreams: 1 BatistaNeto_AlbertoLeopoldo_M.pdf: 764702 bytes, checksum: 38e943aef1a6e4a5f892916208eca7a5 (MD5) Previous issue date: 2007 / Resumo: Visando a atingir um esclarecimento sobre os conceitos fundamentais envolvidos no estudo das combinações entre lógicas, empreendemos uma alise do problema da representação geral de sistemas lógicos (com ênfase no conceito central de conseqüência lógica), juntamente com o do estabelecimento de uma noção apropriada de tradução ou morfismo entre os sistemas definidos de um determinado modo, com base em que podemos fundamentar algumas técnicas de combinação, especialmente a fibrilação algébrica. Tais técnicas são definidas e apresentadas em suas propriedades mais relevantes, sendo encontrados, no caso particular da fibrilação, problemas tais como o colapso e o anti-colapso. Para estes, a solução parece residir na escolha de formas adequadas de representar lógicas em geral e de traduzir lógicas umas nas outras. Uma apresentação modelo-teorética mostra-se apropriada para algumas representações de lógicas em geral (como, por exemplo, sistemas de Hilbert), embora não o seja para outras (como sistemas de conseqüências múltiplas). No entanto, duas das mais promissoras tentativas de solucionar, em particular, o problema do anti-colapso da fibrilação algébrica as meta-traduções e os transfers elementares podem ser definidas dentro desse arcabouço. Os transfers incluindo os transfers elementares - foram definidos em [17] - e aqui apresentamos uma representação das meta-traduções como tipo específico de transfer / Abstract: In order to accomplish an elucidation of the fundamental concepts involved in the study of the combinations between logics, we undertake an analysis of the problem of the general representation of logical systems (with an emphasis on the central concept of logical consequence) together with that of the establishment of an appropriate notion of translation or morphism between the logical systems defined in a certain fashion, on which basis we can ground some of the combination techniques, specially that of algebraic fibring. Such techniques are defined and presented in their most relevant features, and we find, in the particular case of fibring, problems such as collapsing and anticollapsing. The solution for these seem to rest on the choice of adequate forms of representing logics in general and translating logics into others. A modeltheoretic presentation shows itself appropriate for some representations of logics in general (such as Hilbert calculi), although they are not for some others (such as multipleconclusion systems). Notwithstanding, two of the most promising attempts to solve, in particular, the problem of the anticollapsing of algebraic fibring metatranslations and elementary transfers , are definable within that framework. Transfers including elementary transfers have been defined in [17] and we here present a representation of metatranslations as an specific kind of transfers / Mestrado / Logica / Mestre em Filosofia

No Trifling With Love, a new adaptation by Frank Canino of Alfred de Musset's 19th Century French play, was produced and directed by Adrienne Wintermans, in partial fulfilment of the requirements for a Master of Arts degree in the Department of Theatre of the University of British Columbia, at the Dorothy Somerset Studio Theatre, from November 20 to 23rd, 1968. The following is a detailed record of that production, together with the director's analysis and interpretation of the script. No Trifling With Love was performed by a predominantly student cast, in costumes and setting designed by Michelle Bjornson, with choreography by Richard Blackhurst and with original music composed and arranged by Jim Colby and played by three musicians employing flute, piano, guitar and percussion instruments. This record is divided into three main sections. The first is an essay in five parts, consisting respectively of: the biographical and historical background of the playwright and the play; the literary influences found in On ne badine pas avec l'amour; a comparison of the adaptation used for this production with previous translations of the play; an analysis of No Trifling With Love in this adaptation; and finally a short section setting forth as simply as possible, the specific directorial concept used for this production. The essay is followed by a short bibliography which is not intended as a complete list of the works on or by de Musset, but gives an indication of those which were taken into consideration during the preparation of this production. The second section is made up of the prompt script of the production, showing the division of the play into units, blocking, and music, lighting and scenery cues. The script is followed by a unit by unit analysis of each scene, briefly discussing the directorial approach taken in terms of purpose, action, motivation, dominant emotions, character dominance and particular difficulties involved. The third section is made up of various tables, records and illustrations relating directly to the production. Included are lists of light cues, set changes, property and costume lists, cost lists and box office reports. Also included are transcripts of the music composed for the production samples of the programme and copies of the press reviews. The illustrations include colour photographs of the production, renderings of the sets, costumes and projections, and finally blue-prints of the floor plan and working drawings. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Carlyle was much, more popular and influential in the nineteenth century than he is in the twentieth. Many critics "believe that he exerted an influence over Tennyson, but there is very little direct evidence to support such an opinion. However, circumstantial evidence shows that Tennyson must have been interested in what Carlyle had to offer; that Carlyle and Tennyson were personal friends; and that there are many parallels between the works of Carlyle and Tennyson. Carlyle is essentially a romantic. His attitude toward art is ambivalent, a fact which is indicative of the conflict between Carlyle's longing for beauty, goodness, and truth on the one hand, and, on the other, his realization of the difficulty in reaffirming these absolutes within the spirit of his age. This ambivalence is related to the post-Kantian conflict between "Mere Reason" and "Understanding". Carlyle describes that conflict as the result of a process of ever-increasing self-consciousness of both the individual and society. Tennyson's early poetry is determined by the same "romantic" conflict, "but whereas in Carlyle's writings this conflict is philosophically resolved, Tennyson's early poems lack this resolution. One may say that these poems represent Tennyson's "Everlasting No." Carlyle and Tennyson met first in 18J8 and soon became personal friends. Although during the forties their friendship was at times very intimate, it seems that Carlyle took Tennyson not very seriously, and that Tennyson was sometimes annoyed over Carlyle's blustering manner. But on the whole, Tennyson regarded Carlyle very highly. In In Memoriam, many sections of which were written after Tennyson had become acquainted with Carlyle, Tennyson arrives at an "Everlasting Yea," i.e., at a reconciliation of "Mere Reason" and "Understanding" through renunciation (Selbsttötung). In addition, the poem displays many similarities with Sartor Hesartus. But whereas in Carlyle's writings the resolution of the "basic romantic polarity" is mainly rational, it becomes an intense emotional experience in Tennyson's poem. "Locksley Hall" displays many similarities with Sartor Resartus in general, and with Book II in particular. These similarities have led William D. Templeman to maintain that "Locksley Hall" is a dramatization of Book II of Sartor. But apart from parallels "between the two works, there is no evidence to support this view. After 1850, when Tennyson received the laureateship and founded a family, he became more self-reliant. His meetings with Carlyle became less frequent and more formal. However, there are many indications that both men held each other in high esteem, despite the fact that Carlyle often criticised Tennyson. The plot and the characters in Maud resemble Book II of Sartor Resartus. In addition, there are several other parallels between Maud and some of Carlyle’s works. In one instance it appears likely that Tennyson has used an image from Past and Present. Furthermore, the hero in Maud undergoes a progression from an "Everlasting No" to an "Everlasting Yea," but there is little evidence to prove that such parallels reflect influences. After 1855, the friendship between Carlyle and Tennyson may be described as a "friendly companionship between two equals, neither ignoring the other, but each enjoying full intellectual independence." After a temporary estrangement, probably caused by Carlyle's overbearing manner, Tennyson appears to have taken the initiative in reviving the friendship (1865). Although Carlyle's criticism of Tennyson continued to be unfair and destructive, Tennyson often indicated that he had an affectionate regard for Carlyle. "Locksley Hall Sixty Years After" suggests that Tennyson agreed closely with Carlyle's political views. Because Carlyle and Tennyson were interested in the same intellectual problems; because Carlyle formulated solutions to these problems much earlier than Tennyson; because Tennyson appears to have accepted these solutions after he had met Carlyle; because the two men were personal friends; and because there are many parallels between their works, it appears likely that Carlyle has exerted some influence over Tennyson, although the extent of such influence cannot be determined. / Arts, Faculty of / English, Department of / Graduate