Genericamente, esta tese busca identificar a relação entre arquitetura e cultura de consumo, como definidora da identidade da arquitetura moderna de Miami no segundo pós-guerra. O conceito de cidade-balneário de Miami Beach foi transformado durante o decorrer da sua história. Os seus hotéis de inverno de meados da década de 1910 até 1945--destinados aos milionários associados à indústria automobilística--dão lugar a uma nova tipologia de hotel no pós-guerra, o hotelbalneário para a classe média norte-americana. Especificamente, este trabalho analisa os hotéis-balneários de Morris Lapidus (1902-2001) em Miami Beach na década de 1950, que definem a identidade da arquitetura moderna da cidade e que, por sua vez, caracterizam a sua própria imagem como cidade-balneário. A obra do setor da hospitalidade de Lapidus surge como informante de uma arquitetura com atenção máxima à escala humana do usuário. Suas lojas, construídas na época da Depressão, e seus hotéis do segundo pós-guerra, meticulosamente projetados para a classe média, surgem como veículos que contribuíram para a formação da cultura nacionalista, otimista e progressista, incentivada pelo governo federal de Franklin Roosevelt nesses períodos históricos. A histórica polêmica gerada sobre essa obra hoteleira de Lapidus, associada aos paradoxos presentes na composição arquitetônica de seus edifícios, está dividida entre a dogmática interpretação moderna do International Style e a leitura pós-moderna centrada na recuperação humanista. A narrativa da tese está fundamentada nessa polêmica cujo cerne está na questão sobre gosto e qualidade em arquitetura instigada por essa obra controversa. Este trabalho interpreta os paradoxos desses hotéis-balneários como uma metodologia de projeto de Lapidus, centrada na dialética de elementos de projeto contrastantes. Dessa dialética compositiva, nasce uma arquitetura híbrida, acessível à emergente classe-média, consumista e móvel, do pós-guerra. Esse hibridismo é estrategicamente elaborado como metodologia de projeto--uma colagem. A arquitetura como colagem nasce das escolhas de elementos extraídos de fontes diversas, que são apropriados e recriados pelo arquiteto. A diversidade de fontes de projeto advém da circulação de ideias--exposições, publicações e viagens. O apogeu da carreira de Lapidus é o hotel Fontainebleau (1954), o primeiro edifício do arquiteto de interiores que foi validado pelo seu conjunto de lojas da Main Street norte-americana. Os interiores derivam do método de projeto desenvolvido para as suas lojas, enquanto que a arquitetura do Fontainebleau descende da obra formativa de Oscar Niemeyer. A arquitetura moderna tropical do edifício contribuiu para a tipologia de hotel-balneário de Miami Beach no segundo pósguerra que, por sua vez, redefiniu o seu conceito de cidade-balneário. Após meio século, a arquitetura moderna hoteleira de Miami, originada com o Fontainebleau, está \"preservada\" sob a denominação Miami Modern-MiMo. No terceiro milênio, o MiMo, transformado em \"marca\" de consumo, é o veículo imobiliário da preservação da arquitetura moderna de Miami. / Generally, this dissertation aims at identifying the relationship between architecture and consumer culture, which defines the identity of Miami\'s modern architecture in the second post-war. The concept of Miami Beach as a seaside resort has been transformed throughout its history. Its winter hotels from the mid-1910s to 1945--intended for the auto industry millionaires--are replaced by a new typology of post-war hotel, the hotel-resort for the American middle class. Specifically, this work examines Morris Lapidus (1902-2001)\' hotel-resorts in Miami Beach in the 1950s, which define the identity of the city\'s modern architecture and which, in turn, characterizes the image of the city as a seaside resort. Lapidus\' hospitality industry work emerges as an informant of an architecture with maximum attention on the user\'s human scale. Its stores, built in the Depression era, and its post-war hotels for the middle class, both meticulously designed, have emerged as vehicles that contributed to the formation of the optimistic and progressive nationalist culture encouraged by the Franklin Roosevelt federal government in these historic periods. The historical polemic generated on such Lapidus\' hotel work, associated with the paradoxes present in the architectural design composition of its buildings, is divided between the dogmatic modern interpretation of the International Style and the postmodern review, centered on the rediscovery of humanism. The narrative of the thesis is based on this controversy, whose core is the question about taste and quality in architecture instigated by this controversial work. This work interprets the paradoxes of these hotel-resorts as a Lapidus\' design methodology, centered on the dialectic of contrasting design elements. From this compositional dialectic, a hybrid architecture is formed, accessible to the emerging middle-class, consumerist and mobile, of the second postwar. This hybridism is strategically planned as a design methodology--a collage. Architecture as collage is assembled from the choices of elements drawn from diverse sources, which are appropriated and recreated by the architect. The diversity of project sources comes from the circularity of ideas--exhibitions, publications, and travel. The heyday of Lapidus\' career as an architect is the Fontainebleau Hotel (1954), the first building by the then interior designer, who was validated by its collection of American Main Street stores designed during the Depression. The Fontainebleau Hotel interiors are derived from the design method developed for his stores, while its architecture descends from the formative work of the Brazilian architect Oscar Niemeyer. The tropical modern architecture of the Fontainebleau established the typology of the post-war Miami Beach hotel-resort, which in turn redefined its seaside resort concept. After half a century, Miami\'s modern hotel architecture, originated with the Fontainebleau Hotel, is \"preserved\" under the slogan Miami Modern-MiMo. In the third millennium, the MiMo, transformed into a consumer brand, is the real estate vehicle for the preservation of the modern architecture in Miami.

Orientador: Marcelo Siqueira Ridenti / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T20:34:47Z (GMT). No. of bitstreams: 1 Martini_SilviaRosanaModena_D.pdf: 2314349 bytes, checksum: 1489ecd967acc618140445218ea3ebda (MD5) Previous issue date: 2011 / Resumo: A modernidade que se desenhava nos anos 1950 nos dois maiores centros urbanos brasileiros, fundamentada na posse e consumo de bens industrializados, contrastava com o Brasil predominantemente rural. À medida que a população se urbanizava, novos produtos, que caracterizavam um padrão de vida urbano e moderno, incorporam-se ao consumo dos brasileiros: o automóvel, a televisão, o aspirador de pó, a enceradeira, a geladeira e centenas de outros produtos, frutos do capitalismo industrial. Desenvolvimento, para a maioria da população, significava a posse destes bens duráveis. Inicialmente, o estilo de vida moderno espraiou-se nos grandes centros urbanos, entre o empresariado e a classe média alta, posteriormente, pela força dos meios de comunicação - rádio e televisão - atingiu as classes menos privilegiadas. As pesquisas de opinião pública do IBOPE ? que fundamentam este trabalho ?, depositadas no Arquivo Edgard Leuenroth, constituem-se em rica fonte documental para quem pretende estudar o comportamento dos moradores dos grandes centros urbanos brasileiros, pois trazem à tona o cotidiano de homens e mulheres que vivenciaram os anos 1950 e passaram a consumir determinados bens, quer seja materiais ou simbólicos, atrelados a um processo mundial: a formação da sociedade de consumo / Abstract: The modernity developed during the years of 1950 at the two biggest brazilian urban centers, based upon ownership and consumption of industrialized goods, diverged from a Brazil predominantly rural. As the population would become urbanized, new products that would feature an urban and modern lifestyle would be added to Brazilians consumptions: cars, television, hoover, floor polisher, refrigerator and hundred of other products as a reward of the industrial capitalism. Development for most people meant the possession of these non perishable goods. Initially the modern lifestyle spread through the big urban centers among entrepreneurs and high middle class, at a later time through the media - radio and television - it reached the less privileged class. The public opinion surveys by IBOPE (Brazilian Institute of Public Opinion and Statistics) from which this paper is based filed at Arquivo Edgard Leuenroth constitute a rich documental source to those who intend to study the behavior of the residents of brazilian big urban centers as they evoke the daily life of men and women who experienced the years of 1950 and started acquiring specific goods either material or symbolic ones attached to a worldwide process: the creation of a consumerism society / Doutorado / Trabalho, Cultura e Ambiente / Doutor em Sociologia

ENGLISH SUMMARY The main objective of this thesis was to provide a complex perspective on the mutual relationship of gender and media in the age of post-modernity with a special attention to the stereotypical gender portrayal presented to us by the contemporary Czech advertising discourse. We chose to demonstrate this problematics through the methods of semiotic analysis on the analytical sample of 5 advertisements (consisting of selected TV commercials) representing various aspects of stereotypical gender images appearing in the today's Czech advertising contents. We then subjected these selected advertisements to the analytical methods in pursuit of finding the answers to the questions related to the media image of men, women and our society that the stereotypical gender depictions contained in these advertisements help to construct. Although many of these advertisements appear to be openly sexist or even misogynic on the first sight, using the mechanisms of semiotic analysis we came to a rather opposite conclusion proposing the analyzed contents are rather pro-feminine tending toward an extensive masculine critique. This result, however, is based mainly on the mechanisms of oppositional reading of the subjected texts. On the other hand, it is presumable that the "average media consumer" not having access...

This thesis reassesses the nature and importance of the Scottish Episcopal Church in Edinburgh and more widely. Based on a microstudy of one chapel community over a twenty-four year period, it addresses a series of questions of religion, identity, gender, culture and civic society in late Enlightenment Edinburgh, Scotland, and Britain, combining ecclesiastical, social and economic history. The study examines the congregation of Charlotte Episcopal Chapel, Rose Street, Edinburgh, from its foundation by English clergyman Daniel Sandford in 1794 to its move to the new Gothic chapel of St John's in 1818. Initially an independent chapel, Daniel Sandford's congregation joined the Scottish Episcopal Church in 1805 and the following year he was made Bishop of Edinburgh, although he contined to combine this role with that of rector to the chapel until his death in 1830. Methodologically, the thesis combines a detailed reassessment of Daniel Sandford's thought and ministry (Chapter Two) with a prosopographical study of 431 individuals connected with the congregation as officials or in the in the chapel registers (Chapter Three). Biography of the leader and prosopography of the community are brought to illuminate and enrich one another to understand the wealth and business networks of the congregation (Chapter Four) and their attitudes to politics, piety and gender (Chapter Five). The thesis argues that Daniel Sandford's Evangelical Episcopalianism was both original in Scotland, and one of the most successful in appealing to educated and influential members of Edinburgh society. The congregation, drawn largely from the newly-built West End of Edinburgh, were bourgeois and British in their composition. The core membership of privileged Scots, rooted in land and law, led, but were also challenged by and forced to adapt to a broad social spread who brought new wealth and influence into the West End through India and the consumer boom. The discussion opens up many avenues for further research including the connections between Scottish Episcopalianism and romanticism, the importance of India and social mobility within the consumer economy in the development of Edinburgh, and Scottish female intellectual culture and its engagement with religion and enlightenment. Understanding the role of enlightened, evangelical Episcopalianism, which is the contribution of this study, will form an important context for these enquiries.