Made available in DSpace on 2016-04-26T14:57:17Z (GMT). No. of bitstreams: 1 Paulo Sergio de Sena.pdf: 742431 bytes, checksum: 1b3644c0266ddab959005a9b341d85cd (MD5) Previous issue date: 2008-10-03 / The paper articulates three thematic axes: Society-Culture-Nature relationship, the Anthropological Non-Place and the (Full Protection) Conservation Units and Units of Conservation (=National Parks). The western capitalist society establishes the separation Society-Culture-Nature and creates tools for social-cultural domination of nature. The issue of this work is to check to what extent the units of the type National Parks Conservation reflect the role of instrument of that society to maintain the separation of Society and Culture of Nature. Our hypothesis is that the National Parks are one of those instruments and reflect an institutional model for Conservation of Nature that methodologically excludes the daily life of society inside. In order to ensure the success of the Conservation of Nature without the human presence in its limits, the design of the management of the Conservation Units involves the construction of Anthropological Non-Places, which makes impossible the expression of the identity of social actors, their relations and the possible construction of their stories. The Model of the Brazilian National Park, which is derived from the American model of the nineteenth century, has its actions supported through governmental (Forest Code, National Environmental Policy, National System of Conservation Units) and park management (the Management Plan and the Participatory Management Council Minutes)documents. Those documents have been compiled from the systematic analysis of communications through the linguistic-type Support code written for small groups and mass communication. The results showed that the attempts to build space for the dialogue of society through participatory management of the park have not been effective to ensure neither effective participation of local people or to break the separation between Society-Culture-Nature / O trabalho articula três eixos temáticos, as Relações Sociedade-Cultura-Natureza, os Não-Lugares Antropológicos e as Unidades de Conservação de Proteção Integral (=Parques Nacionais). A sociedade capitalista ocidental institui a separação entre Sociedade-Cultura-Natureza e cria instrumentos de dominação sócio-cultural da Natureza. A problemática do trabalho é verificar o quanto as Unidades de Conservação de Proteção Integral, em particular os modelos de Parques Nacionais, refletem o papel de instrumento dessa sociedade para manter a separação da Sociedade e Cultura da Natureza. Nossa hipótese é a de que os Parques Nacionais são um desses instrumentos e refletem um Modelo Institucional de Conservação da Natureza que metodologicamente exclui a vida cotidiana da sociedade em seu interior. Para garantir o sucesso da Conservação da Natureza sem a presença humana em seus limites, a concepção do manejo das Unidades de Conservação de Proteção Integral passa pela construção de Não-Lugares Antropológicos, o que impossibilita a expressão da identidade dos atores sociais, suas relações e as possíveis construções de suas histórias. O Modelo de Parque Nacional brasileiro que deriva do Modelo Americano do século XIX tem suas ações respaldadas pelos documentos governamentais (Código Florestal, Política Nacional do Meio Ambiente, Sistema Nacional de Unidades de Conservação) e de gestão do Parque (Plano de Manejo e Atas do Conselho Consultivo). Esses documentos foram sistematizados a partir da análise de comunicações por meio do Código-Suporte do tipo linguístico escrito para grupo restrito e comunicação de massa. Os resultados mostraram que as tentativas de construção de espaços para a interlocução da sociedade por meio da gestão participativa do Parque (Conselho Consultivo) não se mostraram suficientes nem para garantir uma participação efetiva das populações locais e nem para romper a separação entre Sociedade-Cultura-Natureza

Diploma thesis theme is design of a new synagogue in the city of Trutnov on a memorial site of the original unpreserved synagogue. Part of the construction program is the creation of a complex used by the Jewish religious community and its members, containing a building for the Jewish community (administrative and educational use), kosher restaurants with use for the general public, and the Museum of Jewish Culture. The aim of the design is to create a set of buildings functioning as a whole respecting the natural landmark of the surroundings and the historical significance referring to the past. The new synagogue is designed as the dominant feature of the whole complex in the place of the original Jewish prayer house and emphasizes the monumentality of the place connected with nature. Other facilities are located in front of the synagogue and create a new public space for locals but also visitors to the city from a wide area not only for spiritual use but also for cultural, social, and recreational.

The use in pictorial art of visual reference to prototypes and conventions in encoding reality forms the crux of the theoretical research. The theoretical component complements the practical research, which focuses on the interplay between perceptions of 'reality' and visual conventions in landscape art. The existence of diverse realities, based on individual ideological and sociocultural perspectives, is acknowledged. In encoding these realities, artists may draw on a reservoir of stylistic, formal and conceptual prototypes. Visual reference constitutes an allegorical procedure because the artist refers to an antecedent text in the representation of a particular 'reality'. Pictorial signs also rely on conventions to convey meaning. Both the perception and the artistic recreation of different realities may thus be regarded as recycling processes. In a world saturated with visual information, reference to prototypes is a powerful procedure which assists contemporary pictorial artists in the creation of meaningful images of current realities. / Art History, Visual Arts & Musicology / M.A. (Fine Arts)

The use in pictorial art of visual reference to prototypes and conventions in encoding reality forms the crux of the theoretical research. The theoretical component complements the practical research, which focuses on the interplay between perceptions of 'reality' and visual conventions in landscape art. The existence of diverse realities, based on individual ideological and sociocultural perspectives, is acknowledged. In encoding these realities, artists may draw on a reservoir of stylistic, formal and conceptual prototypes. Visual reference constitutes an allegorical procedure because the artist refers to an antecedent text in the representation of a particular 'reality'. Pictorial signs also rely on conventions to convey meaning. Both the perception and the artistic recreation of different realities may thus be regarded as recycling processes. In a world saturated with visual information, reference to prototypes is a powerful procedure which assists contemporary pictorial artists in the creation of meaningful images of current realities. / Art History, Visual Arts and Musicology / M.A. (Fine Arts)