Brno trade fairs are the heart of Central Europe for exhibitions of everything interesting for already more than 90 years. Nevertheless, the most valuable exhibits are the urban and architectural values of the complex, which are reflecting the development of modern Czech architecture. Even after years of development, it is still necessary to look to the future, to solve the coming problems of generosity, to keep the high level of the area, to support its function and to keep legacy of the fairs for the next generation. As the main happenings moves further from the city centre, the issue is still more up to date on how to handle the west side of this area. In my work, I set out clearly the future urban planning of the trade fairs and divide the various functions into logically integrated areas. In the west part, I am creating a new administrative centre with a lot of other associated services. The basic idea is to create a permanent supporting superstructure, into which the variable function is inserted. I take advantage of the basic principles of smart city, flexibility and the versatility of buildings. To achieve a good connection of the complex with the surrounding area, I maintain the existing transport connections and make new possibilities of movement through the complex and the surrounding areas. This creates a new modern part of the complex, which could evolve over time based on the needs and requirements of its users.

A participant-observer approach is utilized in a case study of Dallas, Texas, homeowners who organized to challenge city acquisition of their property for the expansion of the Fair Park State fairgrounds. From this study, a model of protest and political bias in urban politics is conceptualized. It is hypothesized that some individuals and groups are unable to place their demands, regardless of the extent of their organization and mobilization, on the governmental agenda. This inability to gain access to the decision-making arena is due to the existence of persistent and cumulative political biases. The biases are delineated as systemic, modes of operation, and ideological. Protest activity is a response by powerless groups to encountering these political biases.

Submitted by Emanuel Varela Cardoso (emanuel.varela@ufcg.edu.br) on 2018-09-06T20:37:12Z No. of bitstreams: 1 BRUNO MOTA BRAGA – DISSERTAÇÃO (PPGCS) 2018.pdf: 3222669 bytes, checksum: 47050a6ae3b322bd1bdeb0fd55dd6c73 (MD5) / Made available in DSpace on 2018-09-06T20:37:12Z (GMT). No. of bitstreams: 1 BRUNO MOTA BRAGA – DISSERTAÇÃO (PPGCS) 2018.pdf: 3222669 bytes, checksum: 47050a6ae3b322bd1bdeb0fd55dd6c73 (MD5) Previous issue date: 2014-08 / CNPq / Esta pesquisa pretende analisar, sob a perspectiva sociológica, como as novas configurações comerciais, a partir da inauguração do Centro Comercial Parque das Feiras, vêm imprimindo uma nova dinâmica àsrelações de trabalho, quanto às relações entre o formal e o informal. O Centro Comercial Parque das Feiras surgiu no ano de 2001 por iniciativa do Poder Público Municipal e Estadual, SEBRAE, SENAI e Empresários Locais, na tentativa de reorganização das práticas comerciais, frente à popular Feira da Sulanca, marcada historicamente pela informalidade. Do ponto de vista metodológico busca-se contemplar reciprocamente as dimensões objetivas e subjetivas (estruturas, processos e práticas) referidas à constituição história e mudanças recentes (endógenas e exógenas) assumidas nas relações de trabalho do Parque das Feiras e entorno. Trata-se de uma pesquisa qualitativa, que se utilizou da combinação dos seguintes instrumentos: procedimentos de observação direta, análise documental e realização de entrevistas (feirantes, lojistas, representantes públicos, associações comerciais e sindicatos). / This research intends to analyze, under a sociological perspective, how the new commercial configurations denominated the Park of Markets Commercial Center shaped new work relationships referring to formal/informal dynamics. This Commercial Center was founded in 2001 by an effort of State and Municipality public power, SEBRAE, SENAI and local entrepreneurs trying to reorganize the street market called Feira da Sulanca which was historically informal. Regarding the methodology we search to cover both objective and subjective dimensions (structures, processes and practices), referring the historic constitution and recent inside and outside changes concerning this Commercial Center and surroundings. We did a qualitative research using direct observation, documental analysis and interviews with local entrepreneurs, street market sellers, public representatives, commercial associations and workers unions.

La rencontre du théâtre et du carnaval est aussi ancienne que le carnaval lui-même. D’une part, les cérémonies et les comportements collectifs possèdent, en propre, une dimension spectaculaire ; d’autre part, les jeux dramatiques font partie intégrante du rituel. Dans la France d’Ancien Régime, les réjouissances du carnaval sont un temps fort du calendrier, qui occupe toute la société pendant plusieurs semaines, des Rois au Carême. Les comédies créées pendant cette période, au Théâtre-Italien, à la Comédie-Française, à la Foire Saint-Germain, se rattachent explicitement à la coutume et s’insèrent dans son cycle cérémoniel. Plus largement, tirant parti de cette proximité calendaire, les dramaturges recourent au langage symbolique du carnaval, à celui du charivari, pour inventer un système de représentation du réel qui en offre un mode d’intelligibilité spécifique. Une langue pleine d’équivoques scabreuses et de saillies ordurières, des lazzis outrés et obscènes, un univers fantaisiste et bouffon, des personnages extravagants et burlesques : les modèles comiques qui se développent, de 1680 à 1720, sont à rattacher à la culture carnavalesque et à son imaginaire mythico-rituel. Les croyances et les pratiques symboliques innervent la création dramatique et participent à la construction de son sens, en lien étroit avec le contexte historique dans lequel s’inscrivent les œuvres. Il convient de restituer à ce théâtre la dimension anthropologique qui est la sienne, si l’on veut accéder à sa raison esthétique. La comédie de mœurs offre alors un nouveau visage : représentant la société contemporaine comme un monde à l’envers sur lequel règnent des souverains parodiques, elle revêt des enjeux idéologiques et possède une portée politique. Parallèlement, c’est aussi le concept critique de « carnavalesque » qui apparaît sous un jour inédit. / The meeting of theatre and carnival is as old as carnival itself. On the one hand, ceremonies and collective behaviour have a spectacular dimension in themselves; on the other hand, dramatic performance is an integral part of the ritual. In the early modern France, celebrating carnival was a key moment of the year, and kept the whole society busy for several weeks from Epiphany (or Twelfth Night) to Lent. The comedies created during that period at the Théâtre-Italien, at the Comédie-Française or at the Saint-Germain Fair, are explicitly related to the custom and fit into its ceremonial cycle. More generally, playwrights took advantage of the calendar proximity and used the symbolic language of carnival, that of charivari, to invent a system of representation of reality that offers a specific mode of intelligibility. A language full of lewd ambiguities and bawdy sallies, offensive, obscene lazzi, a fanciful, farcical universe, extravagant and burlesque characters: the comic models that developed, from 1680 to 1720, are to be related to the carnivalesque culture and to its mythical and ritual imaginary world. Symbolic beliefs and practices pervade the dramatic creation of that time and partake in the construction of its meaning, in close connection with the historical context within which the works are framed. It is necessary to restore their anthropological dimension to these plays to grasp their aesthetic purpose. The comedy of morals after Molière then offers a new face: as the plays represent the contemporary society as a world that has been turned upside down and that is ruled by parodic monarchs, they tackle ideological issues and have a political significance. It is also the critical concept of "carnivalesque" that appears in a new light.