This research investigates contemporary architecture's difficulty in distinguishing new civic buildings from commercial and other non-public building types. Historically, the desire to create a clear typological distinction for the civic has come and gone through periods of time and key practitioners. Through projects, the masters attempts to formulate strategies to speak of the civic in the contemporary condition. The research aims to consider architectural language and its use in the context of new public buildings to establish a sense of difference from dominant urban typologies, and be grounded within a contemporary reading of the civic. This project-based research features three principal resolved design projects - a Civic Centre in Mildura; Council Offices for the City of Hume, Broadmeadows; and a new 'civic school' in the Melbourne outer suburb of Mill Park. The design process undertaken for each project is subject to investigation of selected precedents, both contemporary and historical, and these are explored through an illustrated written chapter.

This dissertation explores in the ways in which decorum, or the appropriateness of form and behavior, served as an underlying principle in the patronage, design, and construction of monumental architecture, sculpture, and inscriptions by the aristocratic elite of late antique urban environments. Throughout the dissertation, I deliberately turn my attention away from imperial buildings like Emperor Justinian's (r. 527-565) Hagia Sophia and towards those projects financed by aristocrats and elites, with a focus placed upon those associated with the gens Anicii and their sphere. It is through the discussions of the built environments of Rome, Constantinople, and Ravenna in the fourth through sixth centuries CE, that my dissertation reveals the ways in which aristocrats and elites, like members of the gens Anicii and wealthy bankers like Julianus Argentarius, were able to concretize their power in periods of political change. Their employment of a decorum of architecture, based upon Vitruvian and Ciceronian ideals, demonstrates the central role these individuals played in the shaping of the visual culture of the late antique Mediterranean. It was through the patronage of statues and buildings that were thoughtfully dedicated, strategically located, and purposefully decorated that these wealthy patrons were able to galvanize their non-imperial authority. In historical moments wracked by war, plague, and political instability, the finance and construction of large-scale statuary on prominently inscribed plinths, as well as solid, immovable buildings afforded these elites with a sense of permanence and stability that, they hoped, would last in perpetuity. / Art History

L’usage que fait Shakespeare des métaphores dans les romances (Pericles, Cymbeline, The Winter’s Tale et The Tempest) contrevient aux prescriptions des traités de rhétorique anglais du XVIe siècle quant à l’élaboration de cette « figure du transport ». Les métaphores dans les romances sont marquées par une forte promotion de l’hybridité, que ce soit celle de la figure elle-même ou celle que le trope induit. Les métaphores que les rhétoriciens auraient pu qualifier d’inconvenantes et de cherchées trop loin contribuent à enrichir le genre protéiforme des pièces et la palette des émotions suscitées chez le spectateur. Elles ont aussi pour fonction de produire des effets catoptriques, de construire des identités sociales et sexuelles fluctuantes et complexes et de créer une dialectique subtile entre le visuel de la scène et celui de l’œil intérieur. Dès lors, le déploiement des métaphores au-delà des règles érigées par les rhétoriciens permet au dramaturge de révéler au mieux la diaprure du monde et celle des êtres. / Shakespeare’s use of metaphors in the romances (Pericles, Cymbeline, The Winter’s Tale and The Tempest) breaks the rules of decorum such as they were prescribed by sixteenth-century rhetoricians concerning the elaboration of this “figure of transport”. Metaphors in the romances tend to promote hybridity in a very powerful way. The figure, which relies on the art of grafting meanings, creates generic hybridity. Metaphors which may well have been deemed inappropriate and far-fetched by Renaissance rhetoricians are a means of strengthening the protean genre of these plays and producing an elaborate affective response in the audience. Moreover, they produce catoptric effects, build complex and fluctuating social and sexual identities and construct a dialectic relation that invites the spectator to approach the plays both with their physical and their inner eyes. Therefore, the development of metaphors beyond strict rhetorical rules enables the playwright to change perspectives and embrace a larger view of the world.

A transmissão do Programa do Ratinho colocou em evidência uma antiga questão sobre a qualidade dos programas exibidos pela televisão brasileira, em que se traça uma distinção entre o que é de alto nível e o que é de baixo nível. A leitura dos artigos publicados na imprensa revela que o programa provoca um profundo mal-estar em determinados grupos, por outro lado, a etnografia do programa mostra que as rupturas, tanto das normas de conduta quanto das regras do gênero televisivo, são propositais e carregam uma dimensão cômica. É essa inter-relação entre o mal-estar e o riso que sugere o sentido das rupturas praticadas no programa. O diálogo indireto entre o conteúdo do programa e as críticas impressas nos jornais mostra a construção de uma identidade positiva em torno do ideal de autenticidade, que se opõe à imagem negativa, de degradação moral, veiculada pela imprensa. Nesse sentido, revela uma disputa simbólica que conjuga no mesmo movimento a distinção e a desqualificação do outro. O programa encena essa disputa, em que se define o que é desejável e o que é desprezível, o que dá dignidade e o que degrada o ser humano, simulando a inversão da escala de valores na qual aqueles que se incomodam são colocados como inferiores em relação ao apresentador e aqueles que apreciam o programa, os quais se apropriam das qualidades associadas à superioridade moral. / The purpose of this essay is to analise the interconnections between the disgusting and the comic in Ratinho`s TV programme. This programme came up the old question about the quality of TV programmes in Brazil, where there is a clear distinction between the good level and the bad level. The reading of public papers shows that the programme causes a deep bad feeling in some groups of society. On the other hand, the programme´s ethnography shows that the breaking of behavior rules and TV rules is intentional and has a comic dimension. These interconnections between the disgusting and the comic are the aim of the breaking rules. The indirect comunication between the program content and the media`s critiques in the newspapers shows the construction of a positive identity of authenticity in contrast with the media´s negative image of moral degradation. Furthermore, it revels a symbolic war that causes the same movement of other´s distinction and desqualification. The programme is the scene of this war, in which one can define what is desirable and what is disgusting, what gives dignity and what gives degradation to human being. Ratinho´s programme simulates a inversion of moral rules, in which the one´s who criticize the programme are taken as inferiors to the one´s who like it, so, these can put themselves in a position of moral superiority.

Este trabalho tem o objetivo de verificar a presença do conceito de discrição em três capítulos da obra Don Quijote de la Mancha, de Miguel de Cervantes. Tais capítulos estão localizados na segunda parte da obra e se referem aos conselhos dados por Dom Quixote ao seu fiel escudeiro, Sancho Pança, antes que este assumisse seu governo na ilha Barataria. O conceito de discrição é bastante amplo e complexo. Fazem parte dele atitudes morais e sociais que visam a uma adequada atuação social do indivíduo no universo em que ele se encontra. O exercício da discrição requer o conhecimento de alguns elementos que funcionam como uma espécie de pré-requisito para a sua prática. Entre eles estão a prudência, o discernimento, a cultura e a erudição. Contribuem para a apreensão do conceito de discrição os tratados sobre comportamento social dos séculos XVI e XVII, sobre os quais teceremos comentários específicos, relacionando-os, sempre que possível, ao Quixote de Cervantes. Em nossas considerações, também verificaremos a maneira específica como Cervantes trabalha o conceito de discrição em sua narrativa. Por vezes, o autor subverte as regras do decoro literário, promovendo a quebra da rigidez do conceito, utilizando-o de uma maneira que demonstra variedade em sua aplicação. / This dissertation aims at examining the presence of the concept of discretion in three chapters of Don Quijote de la Mancha by Miguel de Cervantes. Such chapters belong to the second part of mentioned book and they refer to the pieces of advice given by dom Quixote to Sancho Pança, before his faithful squire assumed the government of Barataria island. The concept of discretion is quite vast and complex. It includes moral and social attitudes wich provide for the individual\'s proper social behavior within the universe where he lives. In order to be put into practice, the exercise of discretion demands the knowledge of some elements that function as a kind of pré-requirements, such as prudence, discernment, education and erudition. Treatises on social behavior in the 16th and 17th centuries contribute to the understanding of the concept of discretion, and we are making specific comments on them in search, as far as posible, of their connections with Cervantes\'s Quixote. Along this study we are also examining the specific way Cervantes deals with the concept of discretion in his narrative. There are instances in which the writer subverts the rules of literary decorum causing a rupture in the rigidity of the concept by using it in such a way that demonstrates variety in its application.

A transmissão do Programa do Ratinho colocou em evidência uma antiga questão sobre a qualidade dos programas exibidos pela televisão brasileira, em que se traça uma distinção entre o que é de alto nível e o que é de baixo nível. A leitura dos artigos publicados na imprensa revela que o programa provoca um profundo mal-estar em determinados grupos, por outro lado, a etnografia do programa mostra que as rupturas, tanto das normas de conduta quanto das regras do gênero televisivo, são propositais e carregam uma dimensão cômica. É essa inter-relação entre o mal-estar e o riso que sugere o sentido das rupturas praticadas no programa. O diálogo indireto entre o conteúdo do programa e as críticas impressas nos jornais mostra a construção de uma identidade positiva em torno do ideal de autenticidade, que se opõe à imagem negativa, de degradação moral, veiculada pela imprensa. Nesse sentido, revela uma disputa simbólica que conjuga no mesmo movimento a distinção e a desqualificação do outro. O programa encena essa disputa, em que se define o que é desejável e o que é desprezível, o que dá dignidade e o que degrada o ser humano, simulando a inversão da escala de valores na qual aqueles que se incomodam são colocados como inferiores em relação ao apresentador e aqueles que apreciam o programa, os quais se apropriam das qualidades associadas à superioridade moral. / The purpose of this essay is to analise the interconnections between the disgusting and the comic in Ratinho`s TV programme. This programme came up the old question about the quality of TV programmes in Brazil, where there is a clear distinction between the good level and the bad level. The reading of public papers shows that the programme causes a deep bad feeling in some groups of society. On the other hand, the programme´s ethnography shows that the breaking of behavior rules and TV rules is intentional and has a comic dimension. These interconnections between the disgusting and the comic are the aim of the breaking rules. The indirect comunication between the program content and the media`s critiques in the newspapers shows the construction of a positive identity of authenticity in contrast with the media´s negative image of moral degradation. Furthermore, it revels a symbolic war that causes the same movement of other´s distinction and desqualification. The programme is the scene of this war, in which one can define what is desirable and what is disgusting, what gives dignity and what gives degradation to human being. Ratinho´s programme simulates a inversion of moral rules, in which the one´s who criticize the programme are taken as inferiors to the one´s who like it, so, these can put themselves in a position of moral superiority.

Matteo Ricci's True Meaning of the Lord of Heaven (1603) has been studied extensively by scholars of the Jesuit China Mission, especially in terms of accommodation through means of Scholastic and Humanist arguments and translation choices. Few of these studies, however, discuss the genre of this work (disputation), nor consider this genre in relation to Renaissance rhetorical teachings and how this relationship informs Ricci's accommodative strategies. The purpose of this paper is to remedy this gap in early modern Jesuit scholarship. Through a review of the history of accommodations in disputations in the Aristotelian-Scholastic and Ciceronian-Humanist traditions, this paper claims that True Meaning is a Humanist disputation, not only because Ricci translated Christian terms into Chinese and draws references from classical sources, but also because this text follows strategies taught in the Humanist, but not the Scholastic curriculum. If True Meaning is a Humanist disputation, then Ricci's teachings should be reconsidered from the perspective of Renaissance rhetoric, which sheds further light on how Ricci's work fits into Renaissance culture and the transformation of the early modern disputation genre, as well as provides further explanation of the Western accommodation paradigm Ricci brought to China, which is prior to understanding how Ricci was transformed by China.

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Este trabalho tem o objetivo de verificar a presença do conceito de discrição em três capítulos da obra Don Quijote de la Mancha, de Miguel de Cervantes. Tais capítulos estão localizados na segunda parte da obra e se referem aos conselhos dados por Dom Quixote ao seu fiel escudeiro, Sancho Pança, antes que este assumisse seu governo na ilha Barataria. O conceito de discrição é bastante amplo e complexo. Fazem parte dele atitudes morais e sociais que visam a uma adequada atuação social do indivíduo no universo em que ele se encontra. O exercício da discrição requer o conhecimento de alguns elementos que funcionam como uma espécie de pré-requisito para a sua prática. Entre eles estão a prudência, o discernimento, a cultura e a erudição. Contribuem para a apreensão do conceito de discrição os tratados sobre comportamento social dos séculos XVI e XVII, sobre os quais teceremos comentários específicos, relacionando-os, sempre que possível, ao Quixote de Cervantes. Em nossas considerações, também verificaremos a maneira específica como Cervantes trabalha o conceito de discrição em sua narrativa. Por vezes, o autor subverte as regras do decoro literário, promovendo a quebra da rigidez do conceito, utilizando-o de uma maneira que demonstra variedade em sua aplicação. / This dissertation aims at examining the presence of the concept of discretion in three chapters of Don Quijote de la Mancha by Miguel de Cervantes. Such chapters belong to the second part of mentioned book and they refer to the pieces of advice given by dom Quixote to Sancho Pança, before his faithful squire assumed the government of Barataria island. The concept of discretion is quite vast and complex. It includes moral and social attitudes wich provide for the individual\'s proper social behavior within the universe where he lives. In order to be put into practice, the exercise of discretion demands the knowledge of some elements that function as a kind of pré-requirements, such as prudence, discernment, education and erudition. Treatises on social behavior in the 16th and 17th centuries contribute to the understanding of the concept of discretion, and we are making specific comments on them in search, as far as posible, of their connections with Cervantes\'s Quixote. Along this study we are also examining the specific way Cervantes deals with the concept of discretion in his narrative. There are instances in which the writer subverts the rules of literary decorum causing a rupture in the rigidity of the concept by using it in such a way that demonstrates variety in its application.

This paper examines dialect as a rhetorical means of persuasion. A survey containing inquires about four different Swedish dialects have been handed out mainly in Södertörn University and Stockholm University, in order to research the values and connotations of theese dialects. The four chosen dialects are as following: Göteborgska, Stockholmska, Norrländska and Skånska. The results of the survey are processed and compiled to see which attitudes these values and connotations may indicate to each dialect. These attitudes and values are then discussed in correlation with five rhetorical theories: Attitude as a means of persuation, Ethos, Persona, Rhetorical Agency and Pierre Bourdieu’s theory of Field and Habitus. From this discussion, conclusions are drawn about whether dialect may be used as a means of persuasion. However, the values and attitudes presented from the survey represents only the survey participants, and cannot be regarded as a general opinion. Altough it is a small-scale survey, certain conclusions can be made. The author of this essay concludes that dialect may be used as a means of persuasion, based on the survey results and rhetorical theories presented above. Finally, a critical component for this rhetorical agent is the adjustment of the audience. Without knowing the audiences values and attitudes to the dialect, the outcome of the effect may be hard to predict.