This study aims to uncover the synoptic weather circulation pattern which is associated with the occurrence of needle ice, snowfall and the zero-curtain effect. The method of study was done through an intensive ground climate measurement campaign from April 2008 to May 2009 with a temperature logger installed throughout the recording period. Results from data analyses indicate that the complex changes in climate parameters may lead to an equally complex response in terms of spatial soil frost dynamics and its direct and indirect effects on soil sediment displacement and ecosystem dynamics. Field evidence in the study suggests that on Marion Island needle ice developed in temperatures as high as -0.2 ºC in strong winds. This confirms that the wet environment of Marion Island, which is dominated by diurnal soil frost is fundamentally different from seasonal frost and permafrost environments. The scoria material is susceptible to needle ice growth and the compacted soil alters the micro-climatology of the affected area making it more susceptible to the formation of needle ice. Soil moisture for needle ice formation and growth is provided by the misty conditions associated with the advent of the cold front (pre-cyclonic). Furthermore, observations of needle ice on Marion show that needles are mostly clear with no sediment inclusion. This is indicative of needle ice formation that has not been interrupted by a shortage of moisture. The zero-curtain effect on Marion Island can occur either as a response to the thawing of the soil after the seasonal freeze. The synoptic assessment of snowfall on Marion Island indicates that; snowfall is associated with the passage of a cold front linked to a strong meridional system of low pressure just south of the island.

The thesis is a study of Ceylon's only hill-station, Nuwara Eliya. Nuwara Eliya was established in 1829 as a military sanitarium and gradually assumed the role of a seasonal resort in the second half of the century. Located at 6,280 feet elevation in the temperate hill region, Nuwara Eliya came to have an important role in the social and recreational life of the British in Ceylon. The landscape resembled that of the English countryside, which inspired the British to shape the landscape in the image of their homeland. This thesis explores the sentimental attachment that British expatriates formed for Nuwara Eliya. Based on evidence from the nineteenth century writings of expatriates arid travellers who visited the hill-station, it suggests that the Romanticism prevalent during the period had a significant influence on the manner in which expatriates perceived and interpreted the landscape of Nuwara Eliya. Romanticism alone did not account for the emergence of Nuwara Eliya as an English village. It argues that romanticism, in conjunction with the following factors, contributed to the development of the English landscape of the Nuwara Eliya. The hill-station provided an accessible locale with a temperate climate and vegetation that offered an alternative to the heat of the lowlands. The British possessed a set of ethno-medical beliefs which held that such an environment was the one to which Europeans were best suited. In addition, the recreational preferences of the British and the specific recreational and social needs of the expatriate community contributed to the development of the recreational infrastructure of Nuwara Eliya. The development of the plantation economy was a further prerequisite for the growth of the hill-station. Perhaps the most important consideration, though, was the longing British expatriates experienced for their homeland which made them desire a viable substitute for England. The study was conducted through a survey of nineteenth century travel writings of individuals who visited or resided at Nuwara Eliya. A content analysis was performed on the travel literature to determine the attributes of Nuwara Eliya that were noted in the writings and which indicated the expatriate's and traveller's perceptions of the hill-station. Subsequent to the literature analysis, fieldwork was undertaken in Sri Lanka for a three month period in 1987. Archival research, conducted at the National Archives, Colombo, involved an examination of the diaries of the Assistant Government Agent of the Nuwara Eliya District, as well as nineteenth century English-language newspapers to assess the role of the hill-station in the social life of colonial. Ceylon. Fieldwork also entailed a period of time at Nuwara Eliya to compile photographic evidence and to permit observation of the landscape and the built environment. / Arts, Faculty of / Geography, Department of / Graduate

The regional landscape of Appalachian was a testing ground for a method to define cultural landscape. Landscape Architects and land planners can learn from the existing landscape about the aesthetics and environmental constraints of an area to design and plan in such a way as to complement and strengthen regional character. This document describes in seven chapters the study undertaken to identify patterns in the cultural landscape along the New River. Chapter one introduces the study. Chapter Two explains the physical setting of the four physiographic provinces through which the New River flows. Chapter Three briefly gives an overview of the historical social context of the New River Corridor. Chapter Four describes the eleven sites surveyed as part of this research. The methods of the study are described in Chapter Five. The results of the research survey and statistical analysis are reported in Chapter Six. Lastly, Chapter Seven describes the current land uses within the four provinces, identifies the similarities between the landscape of the Blue Ridge and Great Valley Provinces and the dissimilarity of the Ridge and Valley and Allegheny Plateau Provinces. This chapter discusses how land planning profession could work to strengthen the Appalachian region along the New River and other regions with a unique cultural landscape. / Master of Landscape Architecture

No description available.

abstract / toc / Chinese / Master / Master of Philosophy

By focusing on the “nature” of mapping, this thesis falls under the category of critical cartography closely associated with the work of Brian Harley in the 1980s and early 1990s. As such the purpose of this research is to highlight the historical context of British maps, map-making and map-reading in relation to West Africa between 1749 and 1841. I argue that maps lie near the heart of Britain’s interactions with West Africa though their appearance, construction and use evolved dramatically during this period. By beginning this study with a prominent French example (Jean Baptiste Bourguignon d’Anville’s 1749 “Afrique”) I show how British map-makers adapted cartography from France for their own purposes before circumstances encouraged the development of new materials. Because of the limited opportunities to make enquiries in the region and the relatively few people involved in affecting change to the map’s content, this thesis highlights the episodes and manufactured narratives which feature in the chronology of evolving cartographies. This study concludes with the failure of the 1841 Niger Expedition, when Britain’s humanitarian agenda saw the attempted establishment of a model farm on banks of the Niger River and the negotiation of anti-slave trade treaties with nearby Africans. The cartography and geographical knowledge which supported this scheme is in stark contrast with what existed in the mid-eighteenth century. More than simply illustrating geographical and ethnographical information though, these maps helped inform Britons about themselves and I argue that much of what occurs here features prominently in national discourses about identity, civilization and the justification of British efforts to improve Africa.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-08T11:27:40Z No. of bitstreams: 1 Emilia Jorge de Aratanha.pdf: 11412017 bytes, checksum: 8292f5422ea25e70756632041a48de56 (MD5) / Made available in DSpace on 2017-12-08T11:27:40Z (GMT). No. of bitstreams: 1 Emilia Jorge de Aratanha.pdf: 11412017 bytes, checksum: 8292f5422ea25e70756632041a48de56 (MD5) Previous issue date: 2017-11-28 / The presente work aims to discuss the views that the french photographer Marcel Gautherot (radicated in Brazil since 1939) has of the festivities of the Lavagem do Bonfim, in a series of fotos taken around 1955. Gautherot, who developed his carrier due to his passion for traveling, permits us to see a different portrayal of the Brazilian Candomblé due to his status as a foreigner. With his almost ethnographic point of view, Gautherot sheds light into another side of this African-brazilian religion: that of the usage of public space in a period in time that black people had severe restrictions on movement and use of public space. Other contemporary photographers set their lenses towards recording what was inside the private space of the Terreiro, while Gautherot sees the Candomblé practitioners in public, utilizing the city / Este trabalho visa discutir a festa da Lavagem do Bonfim, em Salvador, sob visão do fotógrafo Marcel Gautherot (francês radicado no Brasil desde 1939) num conjunto de fotos do rito tiradas em 1955. Gautherot, que desenvolveu sua carreira devido à sua paixão por viajar, nos permite ver uma nova forma de retratar o Candomblé por meio de seu olhar de estrangeiro. Com seu ponto de vista quase etnográfico, Gautherot privilegia outra faceta dessa religião de origem africana: o da tomada do espaço urbano, em um período em que os negros sofriam fortes restrições de movimentação e ocupação do mesmo. Outros fotógrafos do período privilegiavam retratar o ritual no interior dos terreiros, enquanto que Gautherot retrata os praticantes do Candomblé em cerimônias públicas, utilizando os espaços da cidade

This dissertation aims to explore aspects of topographical drawing in nineteenth century Natal. It has as its centrepiece the drawings of John Dobie (1819-1903). It is argued that topographical drawing is enmeshed in the landscape and its attendant cultural discourse. On this basis an analogy is drawn between topographical drawing and navigation. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 1997.

The Owl House is situated in the Karoo village of Nieu Bethesda, and the person responsible for its creation, Helen Elizabeth Martins (1897-1976), is South Africa's best known Outsider artist. A number of newspaper and magazine articles, television programmes, radio interviews, play, films, short stories, theses and art works have resulted directly from her work. Interest in The Owl House continues to grow, with visitors coming from all over South Africa, and various parts of the world,to visit it. The Owl House was Helen Martins' home for most of her 78 years. During the last 30 or so years of her life she devoted all her time and energy to transforming the interior of her house into a glistening fantasy world of colour and light, using crushed glass stuck to almost every surface, coloured glass pane inserts in the walls, mirrors of many sizes and shapes, and countless paraffin lamps and candles. She called her garden' A Camel Yard', and filled it with over 500 cement statues, structures and bas reliefs. All the labour involved, apart from crushing and sorting the coloured glass, was provided by at least four different men, who assisted her over the years, Johannes Hattingh, Jonas Adams, Piet van der Merwe and Koos Malgas, though Helen Martins was the inspiration and director behind it all. Through a study of Helen Martins' background and life, and their effects upon her psyche, a rigorous attempt has been made to reach some understanding of why she became a recluse, and what caused her to create this unique body of work comprising her entire domestic environment. She became increasingly asocial as her life progressed, and ultimately ended it by committing suicide in 1976. Through the universality of symbolism, the meanings of the subjects, themes and concerns which she chose to depict are studied. Then, together with some knowledge of her life and personal influences, an attempt has been made to deduce what it was that Helen Martins was trying to express and work through in her creations. This study also led to an awareness of the fact that, although each one is unique, there are many examples of Outsider Art throughout the world. Fundamentally, creators of Outsider Art remain asocial in relation to their cultural milieu and cultural context. Some other examples of Outsider Art, both in South Africa as well as in Europe and India, were visited, and are described and compared with The Owl House as well as with one another. The way in which society reacts or responds to Outsider Art and its creators is studied through the comprehensive records of one specific case which caused great controversy in Johannesburg during the 1970s. Ultimately, working alone or with assistance, it is the Outsider artist who is the driving force behind these unique works, and whose indefinable inner fire of passion alone makes it possible to bring them into being. It would seem that the fascination with Outsider Art is that through their work, creators allow others a glimpse into a different sense of reality which is both mysterious and inexplicable.

Orientador: Edgar S. De Decca / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-07T02:41:24Z (GMT). No. of bitstreams: 1 Gnerre_MariaLuciaAbaurre_D.pdf: 22004606 bytes, checksum: 4b7eb43137bfa738a058518146b1e556 (MD5) Previous issue date: 2006 / Resumo: Analisamos, nesta tese, alguns aspectos de uma narrativa produzida por um viajante anônimo, nos últimos anos do século XVIII, o Roteiro do Maranhão a Goiaz pela Capitania do Piauhi. Trata-se de um texto colonial anônimo que se encontra na matriz de importantes discursos sobre a identidade nacional brasileira. O texto incide diretamente sobre outros textos importantes da historiografia brasileira da primeira metade do século XX, como Capítulos de história colonial, de Capistrano de Abreu, e Formação do Brasil contemporâneo, de Caio Prado Jr. O autor anônimo do Roteiro do Maranhão a Goiaz pela Capitania do Piauhi revela uma excepcional eloqüência argumentativa ao buscar persuadir seus interlocutores, na metrópole, sobre a adequação do plano que propõe para a ocupação dos sertões entre os rios Tocantins e Paraíba. Através deste plano, pretende, em síntese, levar o estado português ao sertão da colônia. Reconhecemos, no texto do Roteiro, as marcas da ilustração portuguesa, com suas nuances bem características, formando o substrato teórico do pensamento econômico presente no Roteiro do Maranhão. Os temas do ócio, da indolência, das terras incultas e espíritos bárbaros, presentes nesta representação dos sertões, são exemplos de características que derivam da imagem que se formara da própria nação portuguesa no século XVIII. Analisamos como esta representação de Portugal, em seu momento de crise, migra, através do texto do Roteiro do Maranhão, para o sertão da colônia, e identificamos as propostas do autor anônimo para solucionar tais problemas / Abstract: This thesis analyzes some aspects of a travel narrative - Roteiro do Maranhão a Goiaz passando pela Capitania do Piauhi - written by an anonymous author. In the last years of the XVIII century, this writer made a long journey through the Portuguese colonies in the Amazon region. In his "Roteiro", the traveler elaborates an important colonization plan aimed at founding a state organization in one of the most desert and uncivilized areas of the Portuguese colonies. In order to plot this course of action, the author uses all his knowledge about economy, in the way that it was understood in XVIII century Portugal. / Doutorado / Historia Social / Doutor em História