The fashion industry has a complex and often ambiguous relationship with the environment. Fast fashion has led to increased waste and harmful production methods, but innovative textile developments have led to more environmentally-friendly clothing production. In the recent decades, eco-fashion has become an evolutionary model that focuses on environmental concerns and an eco-driven consciousness. This Master of Interior Design practicum project proposes a hypothetical eco-fashion design studio in Gastown, Vancouver in order to showcase the conclusive relationship between interior design and eco-fashion. This project employs important conceptions like the body and identity in the design of Gastown Eco-Studio. These themes inform the design process, and the theoretical and methodological considerations demonstrate that the body, as an inhabitant of the built environment can provide a conceptual model for interior design and the related concept of identity can be illustrated through the process of eco-consciousness. / October 2015

At the centre of discourse of Dance in South Africa is the notion of Other. The form and approach in Contemporary Dance in South Africa in the 21st century has been shaped by cultural forces such as apartheid and colonialism. This thesis sets out a phenomenological study of Othering in Dance in South Africa through a hermeneutical unpacking of 'Older dancing'. Its critical question grapples with the notion of age as a new marker of alterity in Dance and asks: How does dancing the Other bring new ways of seeing bodies? The lived experiences of four categories in Older dancing: dancers, choreographers, directors and dance critics, in and outside of South Africa since the 2000s, will be analysed. My own position in each of the categories above has allowed me to participate in Contemporary Dance and the performing arts field in South Africa for over 45 years. A partial history of Contemporary Dance in South Africa is explicated in order to provide paradigmatic frames for this study. The philosophical enquiry of this thesis has foregrounded Dance Studies as a discrete research field in order to highlight dance and the body itself, and to reassert an enviable position of dancing bodies as research instruments and knowledge producers. A hermeneutical narrative analysis was deployed following twelve interviews that were conducted over 4 years (2012-2014). Seven South African and five non-South African 'voices' were analysed and coded against four primary lines of enquiry in Experience: notions of cultural inscription and dancing bodies as blank slates; questions of (in)visibility and frailty of older persons, wisdom and (in)dependent older dancers and the ontologies of marginalisation for Older dancing within concert theatre Dance. This suggested a thesis of wider Body-space reading and continuum for Dance that could be useful in understanding epistemology of prejudice. Recommendations that flow from this study will relate to Dance Studies in South Africa that is already moving away from its anthropological roots in tribal dances, experimentations with multicultural dance, towards unpacking intersectionality, public art and the contested label African dance. It provides Body-space as a further theoretical tool with which to observe dancing and bodies as states of becoming that will be of interest to Dance Studies, Performance Theory and Cultural Studies.

<p>Predmet istraţivanja ove doktorske disertacije jesu metafore tela i prostora u stvarala&scaron;tvu savremene vel&scaron;ke spisateljice Sare Voters. Istraţivanje se usredsreĊuje na prvih pet romana iz njenog opusa, objavljenih u periodu od 1998. do 2009. godine. Romani Usne od somota, Srodne du&scaron;e i Dţeparo&scaron; spadaju u neoviktorijansku prozu, dok su romani Noćna straţa i Mali stranac sme&scaron;teni u period za vreme i nakon Drugog svetskog rata. Uloga protagoniste u njenim romanima najĉe&scaron;će se dodeljuje lezbejskim likovima, pa se njeno stvarala&scaron;tvo moţe shvatiti kao poku&scaron;aj da se navedene istorijske epohe rekonstrui&scaron;u tako da se omogući predstavljanje lezbejskih likova i lezbejske seksualnosti. Istovremeno, njeni romani doprinose &scaron;irem predstavljanju lezbejske tematike u savremenoj knjiţevnoj produkciji. Osnovni cilj istraţivanja jeste da se ispita uloga telesnih i prostornih metafora u obradi teme istopolne ljubavi, ali i znaĉaj ovih metafora za ĉitav niz drugih tema.<br />Istraţivanja tela i prostora predstavljaju izuzetno plodnu i dinamiĉnu oblast savremene kritiĉke teorije. Ovi pojmovi dospevaju u ţiţu kritiĉkog interesovanja u drugoj polovini dvadesetog veka, mada je njihovo prisustvo u oblastima nauĉnih istraţivanja znatno duţe, pa rasprave o telu i telesnosti nalazimo jo&scaron; u klasiĉnoj filozofiji. Prostor je pak sve do druge polovine dvadesetog veka prevashodno bio predmet matematiĉkih i geografskih istraţivanja, dok je u humanistiĉkoj tradiciji bio shvaćen tek kao pasivna i statiĉna pozadina istorijskih dogaĊaja. Istraţivanje polazi od istorijskog pregleda kljuĉnih teorijskih pristupa telu, poĉev od platonistiĉke dualistiĉke tradicije,&nbsp;preko kartezijanskog dualizma, sve do savremenih poststrukturalistiĉkih teorija, a teorijsko upori&scaron;te analize telesnih metafora ĉine teorije Mi&scaron;ela Fukoa i Dţudit Batler. Analiza romana se usredsreĊuje na motiv transodevanja, metaforu duha, ali i na skup konkretnih telesnih slika kojima se spisateljica iznova vraća. Potom se razmatraju savremena teorijska poimanja prostora, pri ĉemu se istraţivanje oslanja i na relevantna istorijska, knjiţevnoistorijska i sociolo&scaron;ka istraţivanja. Ovaj teorijski okvir sluţi da se ispitaju predstave kuće, zatvora, ludnice i britanske prestonice, te interakcija lezbejskih likova s ovim lokalitetima<br />&nbsp;</p> / <p>The aim of this doctoral thesis is to explore the corporeal and spatial metaphors in the fiction of Sarah Waters, a contemporary Welsh novelist. The critical focus of the thesis is on Waters‟s first five novels, published between 1998 and 2009. Tipping the Velvet, Affinity and Fingersmith belong to the neo-Victorian genre, while Night Watch and The Little Stranger are set in the period during and after the Second World War. In Waters‟s fiction, the role of protagonist is mostly reserved for lesbian characters and her oeuvre can be perceived as an attempt to rewrite the chosen historical periods in ways which provide for the representation of lesbian characters and lesbian sexuality. In addition, her novels make a significant contribution towards wider literary representation of lesbian issues in the contemporary context. The main goal of this research is to analyze the role of corporeal and spatial metaphors in the portrayal of same-sex relationships, class tensions and other relevant themes in Waters‟s work.<br />The issues of body and space are undoubtedly at the centre of contemporary critical interest and theoretical debates that surround them are diverse and wide-ranging. However, while the history of theoretical interest in the body dates back to the classical tradition, spatiality only came to prominence in the second half of the twentieth century, when a surge of critical interest can be observed marking the beginning of the so-called spatial turn. The thesis therefore&nbsp;starts by providing a brief historical overview of the key theoretical approaches to the body, including the mind/body debate in the classical Platonic tradition, Cartesian dualism and contemporary poststructuralist theory. The theories of Michel Foucault and Judith Butler are then used as the main theoretical framework for the analysis of corporeal metaphors, which focuses on the motif of cross-dressing, the spectral metaphor, as well as a range of recurrent corporeal images in Waters‟s writing. In the following chapters, the focus shifts to contemporary theoretical approaches to spatiality and relevant sociological, cultural and historical research, which are used to explore the representations of home, prison, asylum and urban space, as well as the interaction between the lesbian protagonists and their surroundings.</p>

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-03-29T11:22:56Z No. of bitstreams: 2 Dissertação - Tereza Cristina Faria Dalacorte - 2017.pdf: 4102159 bytes, checksum: fd7c2399b73c06baadf93f9849ec03f5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-03-29T11:40:39Z (GMT) No. of bitstreams: 2 Dissertação - Tereza Cristina Faria Dalacorte - 2017.pdf: 4102159 bytes, checksum: fd7c2399b73c06baadf93f9849ec03f5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-03-29T11:40:39Z (GMT). No. of bitstreams: 2 Dissertação - Tereza Cristina Faria Dalacorte - 2017.pdf: 4102159 bytes, checksum: fd7c2399b73c06baadf93f9849ec03f5 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-09-15 / The present thesis proposes a trajectory through the work collection created by the North- American author Tony Smith from 1960 to 1970. The examination of this interval of his artwork is developed based on a bibliographical approach of the life and work of the same era in terms of the aesthetic and historical time in North-America. In addition, this thesis also investigates the interrelation of the analytical aspects of the theme and attempts make a critical review or essay on the topic, as it proposes not only an objective analysis of the subject but also a consideration on the poetic observed in the in the studied artworks. This reflection is built according to the paradox presence/absence of the artworks in the space they occupy. Such cogitation also takes into consideration the fact that the blackness of these artwork volumes could possibly confront their own existences. Finally, this research concentrates on the analysis of the expansion of Tony Smith's artwork in relation to both architectonic and urban spaces, with implications on their possible dialects and/or confrontations. / O projeto desta dissertação propõe um percurso pelo conjunto da obra do artista norte-americano Tony Smith produzidas entre a década de 1960 à 1970. Este recorte é desenvolvido mediante uma abordagem bibliográfica das obras e vida do artista inter-relacionado ao contexto estético e histórico norte-americano do período. No entanto o projeto é também uma inter-relação entre análise e ensaio, pois aqui desenvolvemos não apenas um levantamento objetivo como tambémuma reflexão a respeito da poética a qual percebemos nas obras analisadas. Tal reflexão é construída segundo o paradoxo presença e/ou ausência das obras no espaço que as contêm, considerando também que o negrume de suas volumetrias possivelmente confrontariam sua própria existência. A pesquisa se estende ainda na análise da expansão das obras e sua relação com o espaço arquitetônico e urbano, implicando suas possíveis dialéticas e/ou confrontos.

Yorgancioglu, Derya M. Arch, Department of Architecture Supervisor: Asst. Prof. Dr. C&acirc / n&acirc / Bilsel September 2004, 133 pages In this thesis it is aimed to develop a particular reading of Steven Holl&rsquo / s approach to architecture. It is claimed that in Holl&rsquo / s architecture there is a philosophical depth that embraces both his thinking on and making of architecture. This thesis suggests that, the phenomenology of Maurice Merleau-Ponty, the French philosopher (1908-1961) is Steven Holl&rsquo / s main reference in achieving a philosophical depth in architecture. The thesis research focuses on understanding Holl&rsquo / s approach to architecture and its relation to Merleau-Ponty&rsquo / s phenomenological philosophy. In the second part of the thesis, in aiming to unfold how the design process develops the study focused on the intellectual framework in Holl&rsquo / s architecture. Specific concepts that Holl dwells upon are examined in relation to their philosophical references. This section also comprises a focus on the architect as the subject of architectural practice. In the third part, the phenomenological framework in the way Holl makes architecture is studied by examining how he relates building with site and situation / body to architectural space / body and architecture to time. This examination concludes with an inquiry in the haptic sensibility of the architect into articulating spaces and forms. Lastly, the forth part involves a study on Holl&rsquo / s particular projects, through which it is aimed to examine the architectural embodiment of his phenomenological approach. The thesis research in Steven Holl&rsquo / s architectural approach, which is held through his thinking on and making of architecture, opens up a field of study about the practice of an architect and the philosophical engagement of architecture.

This thesis is the first study using contemporary spatial theory, including cultural geography and its precursors, to examine and compare representations of space in the poetry of three mid-twentieth century American poets: Robert Lowell, Sylvia Plath, and Anne Sexton. Because of the autobiographical content often foregrounded in their work, these poets have been labelled Confessional. Previous criticism has focused primarily on the ways in which they narrate (or draw on) their personal lives, treating accompanying descriptions of their surroundings primarily as backdrops. However, these poets frequently manifest their affective states by using the pathetic fallacy within structures of metaphor that form a textual mapping of the physical space they describe. This mapping can be temporal as well as spatial; the specific spaces mapped in the poem s present are often linked to memories of earlier life or family. These spaces include psychiatric, general, and penal institutions, parks and gardens, nature (especially coastal settings), and the home (almost always a place of tension or conflict). Each poet addresses these broad types of space differently according to their evolving subjective relationship to them. These relationships are in turn strongly influenced by their social class and gender: for the two women, their experience of their own bodies as prescribed space, in relation to the restrictive and objectifying female role that was imposed on them, is critical. Also, critical in shaping the poets experience of space are post-World-War II socio-cultural and demographic changes in the United States, notably suburbanisation, consumerisation and the consolidation of a therapeutic culture . Interwoven with these influences are major political concerns of the period such as the Cold War with its accompanying surveillance and conformism and the threat of nuclear annihilation. In the work of all three poets, awareness of these modern fears fused with traditional Gothic motifs to permeate their descriptions of spaces with anxiety, bitterness, and even dread in a rejection of the synthetic optimism of the American Century and commercial culture. Other criticism has touched on many of these themes in relation to one or another of the poets, but this study, by way of the theme of space, offers comparison and synthesis that aims to shed new light on their work and its relation to the period during which they wrote.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-03-23T17:53:14Z No. of bitstreams: 1 luizalbertosilvestredonascimento.pdf: 19261857 bytes, checksum: 56fc184ee1230660ae9c32702c96c72f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-03-24T12:54:09Z (GMT) No. of bitstreams: 1 luizalbertosilvestredonascimento.pdf: 19261857 bytes, checksum: 56fc184ee1230660ae9c32702c96c72f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-03-24T12:54:24Z (GMT) No. of bitstreams: 1 luizalbertosilvestredonascimento.pdf: 19261857 bytes, checksum: 56fc184ee1230660ae9c32702c96c72f (MD5) / Made available in DSpace on 2017-03-24T12:54:24Z (GMT). No. of bitstreams: 1 luizalbertosilvestredonascimento.pdf: 19261857 bytes, checksum: 56fc184ee1230660ae9c32702c96c72f (MD5) Previous issue date: 2009-08-21 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Essa pesquisa envolve um estudo sobre Corpo, Espaço e Escola e refere-se a uma Cartografia (ROLNIK) de uma escola considerada como Corpo-Escola que se constitui como um lugar – espaço de vida, território existencial – num momento-movimento de mudança para um espaço-arquitetura tradicional de escola. Para essa investigação baseamos fundamentalmente no pensamento da Filosofia da Diferença, em autores como Nietzsche, Deleuze, Guattari e Gil como eixo de interlocução. Traz também outros interlocutores que não se vinculam necessariamente à Filosofia da Diferença, mas que são fortes intercessores na pesquisa – Certeau, Walter Benjamin e o escritor Italo Calvino. Essa pesquisa permitiu o exercício da Cartografia como um método que possibilita pensar uma investigação em Educação na perspectiva de um campo que se cria e se instaura imanente aos fluxos de forças que atravessam a produção da pesquisa. / This research involves a study about Body, Space and School Cartography considered Body-School which becoming Place – life space, existential territory – in a momentmovement of change to a traditional architectural-space of school. For this examination we based itself on Philosophy of Difference thought, in Nietzsche, Deleuze, Guattari and Gil as focal point to interlocution. The research brings other interlocutors which in no manner are bound up in Philosophy of Difference, though they are strong intercessors in this investigation: Certeau, Walter Benjamin and the writer Italo Calvino. This research allowed the Cartography experimentation as a method that makes possible an inquiry in Education view as a field of forces founded and instituted in immanent current of forces that crosses through the production of this investigation.

Este projeto está intimamente ligado à criação artística do ator, suas abordagens, reflexões e métodos. Ele está no âmbito da pesquisa do corpo cênico, de seus movimentos e de sua continua (re)significação perante quem o assiste e, por sua vez, da sua própria (re)organização. Para isso, cartografei meu próprio processo de aprendizagem e criação através dos diálogos entre o método de educação do movimento, Body Mind Centering®, inicialmente desenvolvido pela americana Bonnie Bainbridge Cohen, das formas de extração e codificação de matrizes corporais mapeadas por Renato Ferracini, e dos princípios da performance estudados por Renato Cohen. Assim, o desafio desta pesquisa foi a utilização do material perceptivo, proveniente da prática corporal, para a elaboração cênica. Ou seja, transcrever as sensações em matrizes codificadas, visando uma apresentação final em que este procedimento fosse (in)visível. / The present project is closely linked to the artistic creation of the actor, his approaches, thoughts and methods. The project is located in the realm of the research of the scenic body , its movements and its continuous (re)meaning in the face of the spectator and, on its turn, facing its own (re)organization. To achieve my goal I mapped our own learning and creation process through the dialog between the method of educating the movement, called Body Mind Centering ®, firstly developed by Bonnie Bainbridge, through the method of extracting and encoding the body matrixes mapped by Renato Ferracini, and through the performances studied by Renato Cohen. Therefore, the challenge of the present research was the use of perceptive material, deriving from the body practice used to build the scene. That means, translate the sensations into coded matrixes, aiming a final presentation where the said procedure would be (in)visible.

Este projeto está intimamente ligado à criação artística do ator, suas abordagens, reflexões e métodos. Ele está no âmbito da pesquisa do corpo cênico, de seus movimentos e de sua continua (re)significação perante quem o assiste e, por sua vez, da sua própria (re)organização. Para isso, cartografei meu próprio processo de aprendizagem e criação através dos diálogos entre o método de educação do movimento, Body Mind Centering®, inicialmente desenvolvido pela americana Bonnie Bainbridge Cohen, das formas de extração e codificação de matrizes corporais mapeadas por Renato Ferracini, e dos princípios da performance estudados por Renato Cohen. Assim, o desafio desta pesquisa foi a utilização do material perceptivo, proveniente da prática corporal, para a elaboração cênica. Ou seja, transcrever as sensações em matrizes codificadas, visando uma apresentação final em que este procedimento fosse (in)visível. / The present project is closely linked to the artistic creation of the actor, his approaches, thoughts and methods. The project is located in the realm of the research of the scenic body , its movements and its continuous (re)meaning in the face of the spectator and, on its turn, facing its own (re)organization. To achieve my goal I mapped our own learning and creation process through the dialog between the method of educating the movement, called Body Mind Centering ®, firstly developed by Bonnie Bainbridge, through the method of extracting and encoding the body matrixes mapped by Renato Ferracini, and through the performances studied by Renato Cohen. Therefore, the challenge of the present research was the use of perceptive material, deriving from the body practice used to build the scene. That means, translate the sensations into coded matrixes, aiming a final presentation where the said procedure would be (in)visible.