The building for the centre for youth sub cultural expression focuses on the idea of resistance as form giver in architecture. Resistance [a notion to dislike of or opposition to a plan, an idea] refusal to obey. The aim of the discourse is to express how an abject psychological perception of a group can be transformed positively through architecture. Architecture should not just become a sculptural manifestation but should communicate and respond to its context. The goal is to create an environment that acts as a platform for sub cultural expression but also becomes a domain for youth identity formation. The emphasis is on the exposure of sub cultural arts and artists, thereby potentially establishing a foundation where the South African visual culture can be booted by a fresh and youthful injection of ideas, medium and content. / Dissertation (MArch (Prof))--University of Pretoria, 2007. / Architecture / unrestricted

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-07Bitstream added on 2014-06-13T20:56:32Z : No. of bitstreams: 1 dias_ff_me_ia.pdf: 1612158 bytes, checksum: 3a97e78d7e012c02e0092137dc606905 (MD5) / Neste trabalho realiza-se um estudo do samba de bumbo na Cidade de Pirapora do Bom Jesus, Estado de São Paulo, que, desde um estudo realizado por Mário de Andrade, na década de 1930, hoje considerado clássico, vem sendo valorizado como expressão cultural popular singularmente paulista, típica mesmo. Partindo da análise sobre a sua história na cidade, procura-se apreender as principais re-significações pelas quais essa modalidade de samba vem passando dos dias atuai, bom como as funções simbólicas que encerra no contexto em que é produzido. Basca-se, sobretudo, aferir impiricamente, por meio da pesquisa de campo, quais são os significados que o samba assume enquanto representação de autenticidade, ligada atualmente a atividades de mercantilização da cultura, adquirindo predominantemente dimensão enquanto artigo turístico na cidade de Pirapora. / In this work is realizes a study about samba de bumbo (bumbo's samba) in the city of Pirapora do Bom Jesus, state of São Paulo, that since a study realized by Mário de Andrade, in the decade lof 1930 nowadays considered classic, has been valued as a popular cultural expression particulary paulista, very typical. Starting the analisysis from the history's town, it is seached to seize the mainly re-meaning that this samba's form has been through these days, the slimpolic functions that endes in the context in which it is a produced. ILt seaches, especially, to asess empirically, by the resarch's field, what are the meanings that samba takes on as the authenticity representation at present linket to activities of culture's merchandising, acquiting predominant dimension as a touristic article in the ciy of Pirapora.

Orientador: Alberto Tsuyoshi Ikeda / Resumo: Neste trabalho realiza-se um estudo do samba de bumbo na Cidade de Pirapora do Bom Jesus, Estado de São Paulo, que, desde um estudo realizado por Mário de Andrade, na década de 1930, hoje considerado "clássico", vem sendo valorizado como expressão cultural popular singularmente paulista, típica mesmo. Partindo da análise sobre a sua história na cidade, procura-se apreender as principais re-significações pelas quais essa modalidade de samba vem passando dos dias atuai, bom como as funções simbólicas que encerra no contexto em que é produzido. Basca-se, sobretudo, aferir impiricamente, por meio da pesquisa de campo, quais são os significados que o samba assume enquanto representação de "autenticidade", ligada atualmente a atividades de mercantilização da cultura, adquirindo predominantemente dimensão enquanto artigo turístico na cidade de Pirapora. / Abstract: In this work is realizes a study about samba de bumbo (bumbo's samba) in the city of Pirapora do Bom Jesus, state of São Paulo, that since a study realized by Mário de Andrade, in the decade lof 1930 nowadays considered "classic", has been valued as a popular cultural expression particulary paulista, very typical. Starting the analisysis from the history's town, it is seached to seize the mainly re-meaning that this samba's form has been through these days, the slimpolic functions that endes in the context in which it is a produced. ILt seaches, especially, to asess empirically, by the resarch's field, what are the meanings that samba takes on as the "authenticity" representation at present linket to activities of culture's merchandising, acquiting predominant dimension as a touristic article in the ciy of Pirapora. / Mestre

Magistro baigiamajame darbe nagrinėjama, kaip ikimokyklinėse ugdymo įstaigose pasireiškia organizacijos kultūra, kai ji yra pagrindas, kuris lemia organizacijos formavimąsi bei vystymąsi. Ji suteikia organizacijai unikalumo, formuoja darbuotojams tapatumo jausmą: kultūros dėka vyksta žmogaus identifikavimasis su organizacija, kurioje jis dirba, taip pat kultūra padeda ugdyti atsidavimą organizacijai, sustiprina organizacijos kaip socialinės sistemos stabilumą, formuoja ir kryptingai veikia darbuotojų požiūrį bei elgseną. / The master work examines how organizational culture comes out in the kindergardens, where it is the basis, which leads to the formation of the organization and development. It provides a unique organization, the workers form a sense of identity: due to the culture human identification is with the organization, where he works, as well as the culture helps to build commitment to the organization, enhances the organization as a social system stability, shape and act targeted employees‘ approach and behavior.

Ivan Vladislavić’s fiction shows a preoccupation with the South African past in terms of both time and space and with the influence of ideology on the interpretation of the past and of cultural artefacts such as cityscapes, buildings, monuments, photographs, and fine art within the South African context. No study has yet considered Vladislavić’s entire oeuvre in terms of the interaction between time and space and their particular manifestation in concrete cultural expressions that generate meaning that can only be recognized over time and within the limits of different perspectives. In order to situate his work within such a paradigm, this thesis discusses various theories on the representation of time and space and their application and argues that Vladislavić represents concrete reality and abstract ideas about the past and ideologies in an interrelated manner, in order to illuminate the ways in which concrete reality influences perceptions of the past and its associated ideologies, but also how past and ideology, in turn, influence how concrete reality is perceived. His fiction can thus be described as exploring the complex dynamic between concrete and abstract. Perspective plays an important role in his fiction in terms of both his representation of concrete (city and artefacts) and abstract reality (past and ideology). Characters’ perspectives come into play as they negotiate, create and interpret concrete and abstract reality, and in the light of how they ‘see’ the world, their identities are shaped. Vladislavić shows that perspective is inevitably blurred with ideological prejudice. He does so, in such a way, that a reader is often led to reconsider her/his own way of perceiving both concrete and abstract. Cultural artefacts, in particular, mediate perceptions of time and of place; they are (in)formed by ideology and also have singular signifying possibilities and limitations. By drawing attention to his own expression in language, by creating seemingly random lists, or focusing on the multiple meanings of a word in a playful manner, Vladislavić shows that, like artefacts, language too is a medium for mediation that is subject to and formative of ideology. / Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2012.

Ivan Vladislavić’s fiction shows a preoccupation with the South African past in terms of both time and space and with the influence of ideology on the interpretation of the past and of cultural artefacts such as cityscapes, buildings, monuments, photographs, and fine art within the South African context. No study has yet considered Vladislavić’s entire oeuvre in terms of the interaction between time and space and their particular manifestation in concrete cultural expressions that generate meaning that can only be recognized over time and within the limits of different perspectives. In order to situate his work within such a paradigm, this thesis discusses various theories on the representation of time and space and their application and argues that Vladislavić represents concrete reality and abstract ideas about the past and ideologies in an interrelated manner, in order to illuminate the ways in which concrete reality influences perceptions of the past and its associated ideologies, but also how past and ideology, in turn, influence how concrete reality is perceived. His fiction can thus be described as exploring the complex dynamic between concrete and abstract. Perspective plays an important role in his fiction in terms of both his representation of concrete (city and artefacts) and abstract reality (past and ideology). Characters’ perspectives come into play as they negotiate, create and interpret concrete and abstract reality, and in the light of how they ‘see’ the world, their identities are shaped. Vladislavić shows that perspective is inevitably blurred with ideological prejudice. He does so, in such a way, that a reader is often led to reconsider her/his own way of perceiving both concrete and abstract. Cultural artefacts, in particular, mediate perceptions of time and of place; they are (in)formed by ideology and also have singular signifying possibilities and limitations. By drawing attention to his own expression in language, by creating seemingly random lists, or focusing on the multiple meanings of a word in a playful manner, Vladislavić shows that, like artefacts, language too is a medium for mediation that is subject to and formative of ideology. / Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2012.

<p>This is a study of martial material culture in the context of the Viking Age warrior of Birka, Sweden. The aim is to establish the role, function and affiliation of the Birka warrior and thereby place Birka on the power-political map of the 10th century. The study is based on the excavations of the fortified structures, particularly the Garrison, at the trading post of Birka as well as the extensive remains of material culture deriving from these investigations. A starting hypothesis is that an analysis of material culture constitutes a way of mapping social structures and that style and iconography reflect cultural groups, contacts and loyalties.</p><p>Based on the case studies of six papers, the synthesis deals with questions of the work and world view of the warriors, as too their relation to their contemporary counterparts in eastern and western Europe. Questions are raised concerning the value and function of symbols in a martial context where material culture reflects rank, status and office. In defining the Birka warrior’s particular stylistic expression, a tool is created and used in the search for contacts and affiliations reflected through the distribution patterns. The results show close contacts with the eastern trading posts located on the rivers Volga and Dnjepr in Ancient Russia.</p><p>It is stated that these Rus’ trading posts, essentially inhabited by Northmen, shared a common cultural expression that was maintained throughout a vast area by exceptionally close contacts. It is suggested that a particular stylistic expression developed in these Rus’ trading places containing elements of mainly Scandinavian, Steppe nomadic and Byzantine origin.</p><p>In conclusion, the results of this thesis show that the warriors from Birka’s Garrison had a share in the martial development of contemporary Europe but with their own particular traits. Close relations with the eastern trade route and contact with the powerful Byzantine Empire were enjoyed. As a pointer for future research, it is wondered what organisational form the close-knit structure of the Rus’ trading posts actually took, keeping the subsequent guilds of medieval Europe in mind. The fall of the Garrison, as of Birka, corresponds with the establishment of Christianity in the region. Such changes were not limited to Central Sweden but part of a greater process where a new political structure was developing, better anchored in local concerns.</p>

This is a study of martial material culture in the context of the Viking Age warrior of Birka, Sweden. The aim is to establish the role, function and affiliation of the Birka warrior and thereby place Birka on the power-political map of the 10th century. The study is based on the excavations of the fortified structures, particularly the Garrison, at the trading post of Birka as well as the extensive remains of material culture deriving from these investigations. A starting hypothesis is that an analysis of material culture constitutes a way of mapping social structures and that style and iconography reflect cultural groups, contacts and loyalties. Based on the case studies of six papers, the synthesis deals with questions of the work and world view of the warriors, as too their relation to their contemporary counterparts in eastern and western Europe. Questions are raised concerning the value and function of symbols in a martial context where material culture reflects rank, status and office. In defining the Birka warrior’s particular stylistic expression, a tool is created and used in the search for contacts and affiliations reflected through the distribution patterns. The results show close contacts with the eastern trading posts located on the rivers Volga and Dnjepr in Ancient Russia. It is stated that these Rus’ trading posts, essentially inhabited by Northmen, shared a common cultural expression that was maintained throughout a vast area by exceptionally close contacts. It is suggested that a particular stylistic expression developed in these Rus’ trading places containing elements of mainly Scandinavian, Steppe nomadic and Byzantine origin. In conclusion, the results of this thesis show that the warriors from Birka’s Garrison had a share in the martial development of contemporary Europe but with their own particular traits. Close relations with the eastern trade route and contact with the powerful Byzantine Empire were enjoyed. As a pointer for future research, it is wondered what organisational form the close-knit structure of the Rus’ trading posts actually took, keeping the subsequent guilds of medieval Europe in mind. The fall of the Garrison, as of Birka, corresponds with the establishment of Christianity in the region. Such changes were not limited to Central Sweden but part of a greater process where a new political structure was developing, better anchored in local concerns.

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / RESUMO Este trabalho objetiva compreender como as contadoras de histÃrias caririenses, denominadas GriÃs, foram afetadas, absorveram, interpretaram e significaram essa experiÃncia que as intitulam e as reconhecem como GriÃ, personagens da polÃtica pÃblica AÃÃo Grià Nacional â Mestres dos Saberes, desenvolvida pelo Programa Nacional de Cultura, EducaÃÃo e Cidadania â Cultura Viva do MinistÃrio da Cultura â MinC. Metodologicamente, apoia-se na proposta da pesquisa qualitativa de carÃter etnogrÃfico (Mattos e Geertz), com abordagens metodolÃgicas da histÃria oral (Delgado). Para investigaÃÃo foram selecionadas as experiÃncias da polÃtica pÃblica AÃÃo Grià â Mestre dos Saberes, realizadas no perÃodo de 2007 a 2009 na regiÃo do Cariri, CE, e as narrativas das contadoras de histÃrias, GriÃs do distrito da Gameleira de SÃo SebastiÃo, MissÃo Velha, CE. Os momentos de observaÃÃo ocorreram durante a customizaÃÃo de um panÃ, construÃdo para esta pesquisa, quando a contadora de histÃria relata sua expressÃo cultural; as interpretaÃÃes e as significaÃÃes das crianÃas e da professora em relaÃÃo Ãs experiÃncias vivenciadas no projeto âHistÃrias em Retalhosâ que corresponde a esta polÃtica pÃblica do MinC. A escrita do trabalho conduz a roda dialÃgica entre cenÃrios e encontros que tercem o corpo desta pesquisa. No referencial teÃrico utilizado, entre outros autores, destacam-se Certeau, Bosi, Turino, Pacheco, Delgado, Mattos, Bruner, Benjamim, Freire e Geertz. A pesquisa aponta para a relevÃncia dos encontros potencializados por esta experiÃncia, e como desencadearam relaÃÃes interinstitucionais entre o MinistÃrio da Cultura, as ONGs, as escolas pÃblicas que representam o MinistÃrio da EducaÃÃo e as comunidades locais. Percebe-se tambÃm a importÃncia das memÃrias individuais e coletivas e as interdisciplinares entre os saberes locais das expressÃes culturais das GriÃs e os conhecimentos sistematizados dos currÃculos educacionais proporcionados pelas professoras nas escolas. Outro aspecto sÃo as relaÃÃes intergeracionais entre as contadoras de histÃrias, as crianÃas e as professoras das escolas. Pode-se perceber que as culturas educacionais transparecem tanto nas prÃticas pedagÃgicas desenvolvidas pelas contadoras de histÃrias, como nas prÃticas educacionais desenvolvidas na escola pÃblica desta experiÃncia.

Being the largest expression of the cultural city of Barbalha, CearÃ, the Festa de Santo AntÃnio got, well, great visibility, which concentrates most of the political and cultural sector investments, especially with regard to their patrimony. Other events, such as celebrations of patron, which have structures in their festive designs rituals that remind us of the essential image of the Festa de Santo AntÃnio, highlighting, emblematically, the ritual sacrifice of the tree: select, cut, and the procession raising of the flag of the patron, the folk groups, among others, remain in the invisibility of these policies, as peripheries of the party chief. Thus, the dynamics of the visible / invisible (Merleau-Ponty, 1980), from the "confrontation" between centers and peripheries festive, providing momentary visibility and invisibility permanent, directed us to think of the municipality of Barbalha from three territories: SÃtios Santa Rosa, Cabeceiras e Riacho do Meio, their parties and their historical and geographical representativeness: the movement of bandits materialized in the cemetery of the shot (Alto do LeitÃo) SÃtio Santa Rosa, the strength of traditionalism with devotional Penitentes IrmÃos da Cruz do SÃtio Cabecerias, icons and environmental protection of the Chapada do Araripe with Ecological Park of the Riacho do Meio. It is noted as justification that we canât consider the character of the asset visibility Festa de Santo AntÃnio as the main reason for the invisibility of other manifestations. The challenge on the agenda of this party-main spectacle, to find in other places, the party peripherals, ways to insert them in the processes of cultural appreciation, integrating the processes of historical constitution and memorial in the city. Methodologically, open interviews, semi-structured and projective instigate the subjects of locations, sometimes worked, to talk with their spaces, whether through questions and / or viewing a photographic mural on manifestations of patrimonialidade (POULOT, 2009), gestated for recognition and ownership of the asset by the subjects who experience and represent. Thus, the apprehension of the phenomena analyzed complies with the intent that the subjects involved (revelers) recognize themselves as transformers of their spatialities (MASSEY; KEYNES, 2004). The "symbolic games", representations, values, leisure, trespass, use of spaces, intertwined in the minds of the subjects from language broadcasts festive, like a fertile field for understanding social structures exposed there. The aim is then to understand the logic of the question sheet from the recognition of the individuals who practice it, as belonging to the place, in their lived world (Di Meo, 1996), through their everyday experiences, and among them, the parties. / Sendo a maior expressÃo cultural do municÃpio de Barbalha, CearÃ, a Festa de Santo AntÃnio adquiri, assim, grande visibilidade, da qual concentra a maior parte das polÃticas culturais e investimentos do setor, sobretudo no que diz respeito à sua patrimonializaÃÃo. As demais manifestaÃÃes, como as festas de padroeiro(a), que tÃm nas suas estruturas festivas, desenhos rituais que nos remetem à imagem essencial da Festa de Santo AntÃnio, destacando, emblematicamente, o sacrifÃcio ritual da Ãrvore: escolha, corte, cortejo e o hasteamento da bandeira do padroeiro; os grupos folclÃricos,dentre outros, mantÃm-se na invisibilidade destas polÃticas, como periferias da festa principal. Dessa forma, a dinÃmica do visÃvel/invisÃvel (MERLEAU-PONTY, 1980), a partir do âconfrontoâ entre as centralidades e as periferias festivas, constituindo visibilidades momentÃneas e invisibilidades permanentes, direcionou-nos a pensar o municÃpio de Barbalha, a partir de trÃs territÃrios: SÃtios Santa Rosa, Cabeceiras e Riacho do Meio, suas festas e suas representatividades histÃrico-geogrÃficas: o movimento do cangaÃo materializado no cemitÃrio dos fuzilados (Alto do LeitÃo) do SÃtio Santa Rosa, a forÃa do tradicionalismo devocional com os Penitentes IrmÃos da Cruz do SÃtio Cabeceiras, e os Ãcones da proteÃÃo ambiental da Chapada do Araripe com o Parque EcolÃgico do Riacho do Meio. Salienta-se como justificativa de que nÃo podemos considerar o carÃter de visibilidade patrimonial da Festa de Santo AntÃnio como o principal motivo da invisibilidade das demais manifestaÃÃes. O desafio em pauta parte desta festa-espetÃculo principal, para encontrar em outros espaÃos, perifÃricos à festa, formas de inseri-los nos processos culturais de valorizaÃÃo, integrando-os aos processos da constituiÃÃo histÃrica e memorial do municÃpio. Metodologicamente, entrevistas abertas, semi-estruturadas e projetivas instigam os sujeitos das localidades, ora trabalhadas, a dialogar com os seus espaÃos, seja atravÃs de perguntas e/ou na visualizaÃÃo de um mural fotogrÃfico sobre suas manifestaÃÃes de patrimonialidade (POULOT, 2009), gestada pelo reconhecimento e apropriaÃÃo do bem pelos sujeitos que o vivenciam e o representam. Assim, a apreensÃo dos fenÃmenos analisados cumpre com a intenÃÃo de que os sujeitos envolvidos (festeiros) se reconheÃam enquanto transformadores das suas espacialidades (Massey; Keynes, 2004). Os âjogos simbÃlicosâ, as representaÃÃes, os valores, o lazer, a transgressÃo, o uso dos espaÃos, interpenetram no imaginÃrio dos sujeitos a partir das transmissÃes da linguagem festiva, como um campo fÃrtil para se entender as estruturas sociais aà expostas. Busca-se, entÃo entender a lÃgica da questÃo patrimonial, a partir do reconhecimento dos sujeitos que o praticam, como pertencentes ao lugar, no seu mundo vivido (Di MÃo, 1996), por meio de suas experiÃncias cotidianas, e dentre elas, as festas.