This study is an inquiry into design-theoretical aspects of architectural design in Finland based mainly on the pragmatist philosophy of John Dewey. The study comprises two case studies. The . rst case deals with a young family designing their future home – a detached house built from prefabricated components – in cooperation with an architect. The second case deals with the design process of a leading Finnish architect, Professor Ilmari Lahdelma, as he prepares his proposal for an architectural competition for a new city library in Lohja, a competition he eventually wins. The case describes and interprets Lahdelma’s design process, the processes of other competition entries made by the of. ce staff, as well as the process of the jury’s evaluation of the competition entries. The two cases are analysed and interwoven with aspects from three different theoretical perspectives: existing design theories, Pierre Bourdieu’s . eld theory and John Dewey’s thinking regarding art and research. In the study I argue that Dewey’s philosophy can provide a framework for a design-theoretical epistemology. I also arrive at conclusions regarding the interpretation of some key design-theoretical concepts and the position of design theory and its structures. I further argue that the Finnish architectural competition system is a strong tool for generating developments in the production of the architectural avant-garde, which acts as the leading light for the rest of the . eld of architecture. The present study also highlights the gap between ‘high-’ and ‘low culture’ in the . eld of architecture, yet points out that the design of a simple family house – assumedly a case of ‘low culture’ – is by no means trivial to the family itself, and is indeed . lled with moments of aesthetic experiences, which is a central issue in Dewey’s description of creative processes.

This thesis will investigate how Roman monumental architecture in Tergeste dating to the first and second centuries AD reflected and reaffirmed the social order of the city, and how it was used in the creation and maintenance of identities. The material used will be two select structures, the basilica and theater, located in the eastern and north-eastern sections of Tergeste, respectively. By using theories of social architecture, agency, identity, and compounding them with the ideology of Roman urbanism, focus will be placed on how movement within a structure and the occupation of its different locales influenced the adoption of particular roles and self-conceptions. A number of statues and dedicatory inscriptions associated with the architectural structures will serve to further corroborate these points, and to add information about whether a specific type of identity was favored above others in the city. The results will provide a first overview of how architecture responded to the social reality in Roman Tergeste, in the hope to encourage further research in this direction.

Entre os séculos XVI e XI a.C., a Grécia continental foi palco do domínio micênico e manteve certa homogeneidade no campo político e cultural. Com a onda de destruições que afetaram o mundo micênico do século XIII a.C. em diante, deu-se a queda progressiva desse sistema social, político e cultural. Se, por um lado, o fenômeno corrompe as estruturas da tradição antiga, por outro, estabelece o princípio do Período do Ferro. É no resultado deste processo bilateral que esta dissertação se concentra, pois tendo como fonte a cerâmica ática produzida entre 1100 e 700 a.C., busca-se compreender e delinear esse processo. Dentro da concepção aqui presente de mudança cultural, acredita-se que exista a manutenção, em maior ou menor grau, de certos cânones socioculturais, bem como o seu oposto: as modificações e inovações. A cerâmica tem lugar nessa conjuntura devido a sua característica em reter uma parte das impressões valorativas, estéticas e culturais da sociedade que a produziu. Esta proposta se limita a análise de vasos de cerâmica produzidos na Ática durante o final do Período Micênico (Submicênico), Protogeométrico e Geométrico, de forma a salientar o fio condutor da tradição entre os estilos cerâmicos dos respectivos períodos, e também identificar onde se encontram as inovações. / Between the sixteenth and eleventh centuries B.C., Continental Greece hosted the Mycenaean area and kept a certain homogeneity in the political and cultural field. With the surge of destruction that affected the Mycenaean world of the thirteenth century BC onwards, occurred the gradual decline of this social, political and cultural system. If, on the one hand, the phenomenon corrupts the structures of the ancient tradition, on the other, it establishes the principle of the Iron Age. It is on the result of this bilateral process that this dissertation focuses, as having as source the Attic pottery produced between 1100 and 700 BC, it seeks to understand and delineate this process. Within the concept of cultural change presented here, it is believed that there is a maintenance, in greater or lesser extent, of certain socio-cultural canons, as well as its opposite: modifications and innovations. The ceramic takes place at this juncture due to its characteristic to retain a part of the evaluative, aesthetic and cultural impressions of society that produced it. This proposal is limited to ceramic pots analysis produced in Attica during the late Mycenaean period (Submycenaean), Protogeometric and Geometric, in order to highlight the thread of tradition between the ceramic styles of the respective periods, and also identify where innovations are.

Esta dissertação trata da interação entre linguagem escrita e figurativa, aproveitando um debate geral, mas concentra-se na experiência grega sobre o tema. Assim, partindo da compreensão antiga dessa aproximação, serão perseguidos os aspectos gráficos (que integravam conceitualmente escrita e desenho - como indica o verbo graphêin), presentes na cerâmica ática ornamentada do período arcaico. Questões sobre a articulação de fontes escritas e materiais na pesquisa arqueológica também serão tratadas. Estruturalmente, este texto se divide em questões teórico-metodológicas relativas à natureza da documentação e seu tratamento no campo da Arqueologia Histórica e Epigrafia; e as justificativas das delimitações espaço-temporais. Depois, uma discussão sobre o gráfico, de forma geral, caminhando para o caso grego. Por fim, a apresentação de questões gráficas e relacionadas, próprias da documentação selecionada; bem como um estudo de caso: as ânforas panatenaicas / This work deals with the interaction between written and figurative languages in the general debate, but concentrates in the Greek experience about this subject. Therefore, we will begin with the ancient understanding of this approach; the graphical aspects present at Attic decorated ceramics of the archaic period will be pursued (due to the fact that these graphical aspects conceptually included writing and drawing, as it is indicated by the verb graphêin). Questions about the relationship between written and material sources in the archaeological research will be also considered. Structurally, this text is divided in theoretical-methodological questions about the nature of the documentation discussed in the field of Historical Archaeology and Greek Epigraphy and the justifications of time and space limits. After that, it is also included a general debate over the graphic, restricting to the Greek example. Finally, there will be a presentation of graphical questions and the ones related to the chosen documentation, as well as a case study: the panathenaic amphorae.

O assentamento selêucida de Dura Europos constitui um apropriado campo de análise do processo de transformação cultural em antigas áreas coloniais. O sítio, fundado no entreposto entre as maiores civilizações orientais e ocidentais, é um assentamento multicultural que expressa a coexistência de judeus com várias populações. Esta tese analisa como o grupo de judeus desta cidade usou a cultura material do local a fim de preservar sua identidade e ao mesmo tempo dialogar com outros povos. A transformação resultante desta interação é vista na arte e na arquitetura de duas sinagogas por eles construídas que constituem um dos mais antigos testemunhos da arte judaica produzida por aqueles que viveram na Diáspora. / The Seleucid Settlement of Dura Europos constitutes an appropriate setting to analyze the process of cultural transformation in ancient colonial areas. The site, founded at the crossroad between major Eastern and Western civilizations, is a multicultural settlement that expresses the coexistence of Jews with various populations. This dissertation analyses how the Jewish group of this city used the local material culture to preserve their identity and at the same time did dialogue with other people. The transformation resulted out of this interaction is seen in the art and architecture of the two Synagogues that they built there and which constitutes one of the most ancient testimony of the Jewish art produced by those who lived in the Diaspora.

Entre os séculos XVI e XI a.C., a Grécia continental foi palco do domínio micênico e manteve certa homogeneidade no campo político e cultural. Com a onda de destruições que afetaram o mundo micênico do século XIII a.C. em diante, deu-se a queda progressiva desse sistema social, político e cultural. Se, por um lado, o fenômeno corrompe as estruturas da tradição antiga, por outro, estabelece o princípio do Período do Ferro. É no resultado deste processo bilateral que esta dissertação se concentra, pois tendo como fonte a cerâmica ática produzida entre 1100 e 700 a.C., busca-se compreender e delinear esse processo. Dentro da concepção aqui presente de mudança cultural, acredita-se que exista a manutenção, em maior ou menor grau, de certos cânones socioculturais, bem como o seu oposto: as modificações e inovações. A cerâmica tem lugar nessa conjuntura devido a sua característica em reter uma parte das impressões valorativas, estéticas e culturais da sociedade que a produziu. Esta proposta se limita a análise de vasos de cerâmica produzidos na Ática durante o final do Período Micênico (Submicênico), Protogeométrico e Geométrico, de forma a salientar o fio condutor da tradição entre os estilos cerâmicos dos respectivos períodos, e também identificar onde se encontram as inovações. / Between the sixteenth and eleventh centuries B.C., Continental Greece hosted the Mycenaean area and kept a certain homogeneity in the political and cultural field. With the surge of destruction that affected the Mycenaean world of the thirteenth century BC onwards, occurred the gradual decline of this social, political and cultural system. If, on the one hand, the phenomenon corrupts the structures of the ancient tradition, on the other, it establishes the principle of the Iron Age. It is on the result of this bilateral process that this dissertation focuses, as having as source the Attic pottery produced between 1100 and 700 BC, it seeks to understand and delineate this process. Within the concept of cultural change presented here, it is believed that there is a maintenance, in greater or lesser extent, of certain socio-cultural canons, as well as its opposite: modifications and innovations. The ceramic takes place at this juncture due to its characteristic to retain a part of the evaluative, aesthetic and cultural impressions of society that produced it. This proposal is limited to ceramic pots analysis produced in Attica during the late Mycenaean period (Submycenaean), Protogeometric and Geometric, in order to highlight the thread of tradition between the ceramic styles of the respective periods, and also identify where innovations are.

This thesis traces and explicates the changes in Theodor Fontane's landscape depiction in the years 1887- 1892. I examine his novels Cecile (1887), Irrungen, Wirrungen (1888), and unwiederbringlich (1892). I show that Fontane, as though discarding a relic of the Romantic past, used increasingly less landscape in his narratives. He focused on the actions and conversation of his characters, and on their immediate surroundings. When these surroundings were urban, they tended to disappear. The progressive minimalization of landscape, and of cityscape in particular, foreshadowed the appearance in German literature of twentieth-century man: man alienated from nature in cities, and less aware of empirically observable surroundings than of internal forces and realities.

<p>This paper deals with the development of scientific geography during Antiquity from its mythical background before the seventh century BC to Claudius Ptolemy during the second century AD. The main focus is on questions concerning the shape of the earth, its place in the universe, size and mapping of the earth. Already before 400 BC, the idea of the earth as a globe was firmly estabished. During classical time, Aristotle used empirical and rational arguments to prove that the earth was a sphere and that it was situated motionless in the center of the universe. In the third century BC, the first reasonably correct measurements of the circumference of the earth was carried out by Eratosthenes. Later, a lower, incorrect measurement of the circumference of the earth was made by Poseidonius. His measurement was for some reason accepted by later geographers.The first map of the earth that we know of is on a clay tablet from Mesopotamia from c. 600 BC. The first useful maps were constructed during the Roman era.</p>

This paper deals with the development of scientific geography during Antiquity from its mythical background before the seventh century BC to Claudius Ptolemy during the second century AD. The main focus is on questions concerning the shape of the earth, its place in the universe, size and mapping of the earth. Already before 400 BC, the idea of the earth as a globe was firmly estabished. During classical time, Aristotle used empirical and rational arguments to prove that the earth was a sphere and that it was situated motionless in the center of the universe. In the third century BC, the first reasonably correct measurements of the circumference of the earth was carried out by Eratosthenes. Later, a lower, incorrect measurement of the circumference of the earth was made by Poseidonius. His measurement was for some reason accepted by later geographers.The first map of the earth that we know of is on a clay tablet from Mesopotamia from c. 600 BC. The first useful maps were constructed during the Roman era.

The depiction of violence has always been and will always be a fascinating but horrifying subject. Violence shown on ancient vase paintings has been the subject of multiple authors’ works. This study analyzes the depiction of violence against children in mythological scenes on vases from the ancient world by analyzing and comparing 39 scenes where the subject is rendered and explores the question of what happens if the interpretation of the vase painting lays the focus on the child. This is done by examining how the children die, the iconography of their deaths and the traces of violence left on their bodies, their relationship to the perpetrators, the importance of the perpetrator and the spectators in the scenes, how the iconography relates to the myth as known from literary sources, as well as the chronological and geographical evolution of the motifs. The essay focuses on five mythological children, Troilos, Astyanax, the children of Medea and Opheltes, who all are the object of violence and early death in their respective myths and on vase paintings. The comparison between the vase paintings is divided into the scenes that depicts the children about to be killed and scenes showing the children as already dead. An account of the relationship between the children and the perpetrator as well as the perpetrators motive for killing the child and how their appearance in the scenes compare to each other is presented. The results of the comparisons are used in a discussion also including the ancient attitudes towards children and violence and if the children's deaths could be interpreted as human sacrifice. The study concludes that the interpretation of the role of the children in representations of violence is complex and that there are many aspects that affect the understanding of the vase paintings as a whole. Changing the focus to the child will not change the overall interpretation of the mythological motif, however, the innocence of the child will add more horror and gruesomeness to the overall impression of the vase painting. / <p>Uppsatsens illustrationer har inte tagits med i den digitala versionen.</p>