Zugl.: Leipzig, Univ., Diss., 2009

Thesis (Ph. D.)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 202-210).

Thesis--University of Paris. / Includes bibliographical references.

Thèse 3e cycle--Urbanisme--Paris--E.N.S.B.A., 1975. / Bibliogr. f. 155-159.

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Territoire d’industrie et d’immigration, Saint-Denis est un des hauts-lieux de la "banlieue rouge" de Paris. Après 1945, la pénurie de logements que connaît la France y est aggravée par la médiocrité du parc immobilier ancien et par une croissance démographique, qui se traduit par le développement de bidonvilles d’immigrants. La municipalité communiste fait de la construction de logements un axe central de sa politique sociale, constituant ainsi l’un des plus importants offices d’habitation à loyer modéré (HLM) de banlieue parisienne, gestionnaire d’environ 9 000 logements à la fin des années 1970. Les enjeux posés par la gestion d’un tel organisme et les mutations sociales induites s’observent dans les archives locales. Parmi ces questions, celle du logement des immigrants étrangers ou (post)coloniaux prend une importance croissante à partir des années 1960. Encore inférieure à 10 % en 1965, la proportion des ménages d’immigrants logés par l’office municipal s’élève à au moins un quart des locataires dans les années 1980. La reconnaissance de leur appartenance locale, si ce n’est d’une citoyenneté urbaine, est en jeu et paraît fortement dépendante des contraintes économiques, sociales et institutionnelles pesant sur la gestion d’un office HLM en banlieue ouvrière. La logique d’une hospitalité municipale graduelle et conditionnée est d’abord mise en difficulté par la dissymétrie entre offre et demande de logements sociaux. À partir de la fin des années 1960, lors d’importantes opérations d’aménagement urbain, la question est vue sous l’angle du peuplement immigré et de sa répartition dans l’agglomération. Une logique de « seuil de tolérance » aux immigrants à la source de discriminations prend alors forme. Elle est relative dans la mesure où la part des immigrants logés continue de progresser. Néanmoins, l’importante crise budgétaire qui touche l’office HLM de Saint-Denis à partir 1974, combinée à une désindustrialisation avancée, contribue à une crispation durable sur la question ethno-raciale. / Territory of industry and immigration, Saint-Denis is one of the symbolic places of the "banlieue rouge" (red suburbs) of Paris. After 1945, the housing shortage happening in France is worsened in Saint-Denis by the mediocrity of the old housing stock and by a population growth which leads to the spreading of immigrants slums. The communist municipality makes housing construction a central axis of its social policy, therefore becoming one of the greatest HLM (social housing) municipal agencies of the parisian suburbs, managing about 9 000 apartments at the end of the 1970s. Managing such an agency and the induced social mutations pose challenges that can be observed in the local archives. Among those, the question of the housing of foreign or (post)colonial immigrants is taking on increasing importance from the 1960s. Still below 10 % in 1965, the proportion of foreign households housed by the municipal agency amounts to at least a quarter of the tenants in the 1980s. The acknowledgment of their local membership, if not even of their urban citizenship, is at stake and appears to be highly dependant on economic, social and institutionnal constraints which weigh on the managment of a HLM agency in a working class suburb. The logic of a gradual and conditionned municipal hospitality is first of all put in a difficult position by the dissymmetry between supply and demand on social housing. From the end of the 1960s, during significant urban planning operations, the question is seen from the perspective of the immigrant settlement and its repartition in the agglomeration. A logic of "tolerance threshold" to the immigrants which is the origin of discriminations then begins to take place. It is relative since the share of housed immigrants is still progressing. Nevertheless, the important budget crisis which is striking the HLM municipal agency of Saint-Denis from 1974, combined with an advanced desindustrialisation, contributes to a sustaining contortion on the ethno-racial question.

Orientador: Roberto Romano da Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-14T07:37:19Z (GMT). No. of bitstreams: 1 CarbonelliJunior_RicardoRuiLento_M.pdf: 835432 bytes, checksum: 46cf5a2bc2256b611827b9e223f45fc8 (MD5) Previous issue date: 2009 / Resumo: A dissertação trata da análise da obra "Paradoxo sobre o comediante" no contexto da estética de Diderot. Sua tese fundamental diz que um grande ator é insensível e não deve sentir as emoções que representa. O enunciado é analisado tomando-se o significado dos seus termos no sistema do Filósofo. As idéias de sensibilidade, representação, gênio, imaginação e o conceito de Belo são discutidos a partir de seus textos e de comentários clássicos sobre o tema. Na primeira parte, tratamos da articulação dos conceitos fundamentais da estética de Diderot e como isso se dá de forma problemática, suscitando alguns paradoxos. Também tratamos do lugar que o espetáculo ocupa nessa estética, do objetivo de efeito teatral orientando o desenvolvimento da arte como forma de comunicação e das particularidades próprias de sua tradução visual. Na segunda parte procuramos discutir os conceitos fundamentais para o "Paradoxo" e pensar a estética e a filosofia de Diderot a partir de seus postulados. Na última parte fazemos uma apresentação da obra que orienta nossa pesquisa, tratando das questões historiográficas e abordando seus temas a partir do próprio texto. / Abstract: The dissertação deals with the analysis of the book "Actor's Paradox" in the context of Diderot's aesthetic. Its basic thesis says that a great actor is insensitive and should not feel the emotions that represent. The statement is analyzed by taking the meaning of the terms in the system of the Philosopher. The ideas of sensitivity, representation, genius, imagination and the concept of Beautiful are discussed from his texts and classic commentaries on the subject. In the first part, we deal with the articulation of the basic concepts of the aesthetic of Diderot and how it occurs in a problematic form, exciting some paradoxes. Also we deal with the place that the spectacle occupies in that aesthetic and the objective of theatrical effect guiding the development of the art as communication form and of the proper particularitities of its visual translation. In the second part we look for to discuss the basic concepts for the "Paradox" and to think the aesthetic and the philosophy of Diderot from its postulates. In the last part we make a presentation of the book that guides our research, treating to the historiographical questions and approaching its themes from the text itself. / Mestrado / Mestre em Filosofia

Virtually all African autocrats now govern with parliaments and organize regular, multiparty elections. They have little choice. Since the end of the Cold War, Western governments have required nominally democratic institutions in exchange for aid, investment, and debt relief. With violent repression impossible to conceal from the international community, life as an autocrat has grown more difficult. Since 1989, autocrats forced to govern with nominally democratic institutions have been 80% more likely to lose power than their counterparts. Between 1986 and 2000, the number of autocracies in Africa fell from 45 to 30. The rate of democratization has slowed, for Africa's autocrats learned to survive democratic institutions. To understand how, this dissertation focuses on the Republic of Congo, ruled by Denis Sassou Nguesso for all but five years since 1979. Using original data on the Congolese elite, their political parties, elections, and the security apparatus, this dissertation finds that Africa's autocrats confront challenges old and new with different constraints. Accordingly, they find different solutions. Whereas autocrats once relied on single parties to prevent elite coups, they now secure compliance with social tools. By redefining the pool of candidates for the regime's critical positions, Africa's autocrats employ a "politics of hope," which induces loyalty when elites are excluded from the regime. To monitor appointees, Africa's contemporary autocrats create social institutions, in which new recruits interact with trusted aides. Autocrats supplement these with parallel governments, which force elites separated by cleavages to compete against each other. When Africa's autocrats deploy these monitoring devices effectively, they forgo arbitrary purges in favor of tenure policies that reward competence. The international community's insistence on elections creates "focal moments," when citizens sense their shared discontent. Since they believe international attention will shield them from repression, opposition leaders mobilize unrest. This institutional landscape compels autocrats to fashion electoral alliances with opposition leaders. By joining the regime they once impugned, opposition leaders sacrifice public credibility for ministerial perquisites. Popular goodwill constitutes an insurance policy, and so Africa's autocrats commission surrogates to generate it. With repression less credible, autocrats construct their security apparatuses to threaten violence without provoking it. / Government

This commentary details the methods and ideas involved in creating the seven portfolio works. The portfolio is comprised of stereo acousmatic works, one mixed work and a multi-channel work, forming the practice-based research completed during the PhD programme at the University of Manchester. The works explore a number of aesthetic concepts encompassing instrumental timbres, cultural sound objects, rhythm incorporation, habitual spaces (the kitchen), imaginary and real objects (jukebox), and visual art sculpture (origami). Uniting the portfolio works is the use of Denis Smalley’s spectromorphology (1997). In its intended function, this tool provides the listener of electroacoustic music with thorough and accessible sets of vocabulary to describe sound events, structures and spaces. The use of this descriptive tool need not stop here. Fortunately, and often unconsciously for the composer, it does not, since all composers create music that is spectromorphological with or without an awareness of its presence at work. In a reversal of conventional practice, my research approaches spectromorphology from an alternate angle, viewing the vocabulary as the informer upon sound material choice and creation. In this reversal, vocabulary no longer functions descriptively; instead the vocabulary precedes the composition, directing my compositional pathway in each piece. This new application, used as a method for selecting and creating sound in the creation of each portfolio work, is an attempt at systemisation and an effort to partly remedy the seemingly endless choice of possibilities we are faced with when beginning a new work.

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