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Thesis--University of Michigan. / Includes bibliographical references. Also issued in print.

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

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-08-04T11:43:43Z No. of bitstreams: 1 Allan Cristian Mota Russo.pdf: 976045 bytes, checksum: 58813678210cbdd1d967751fdf278bef (MD5) / Made available in DSpace on 2016-08-04T11:43:43Z (GMT). No. of bitstreams: 1 Allan Cristian Mota Russo.pdf: 976045 bytes, checksum: 58813678210cbdd1d967751fdf278bef (MD5) Previous issue date: 2016-02-26 / We expose here Schopenhauer’s philosophy, highlighting his Metaphysics of the Beauty, wherein we demonstrate the indispensable role of the pure subject of knowledge and the genius in it. The world sometimes as the will, which is blind and source of suffering for all beings, especially humans, who have conscience and can experience like no one the dissatisfaction, the boredom and the fear of death. The world either as representation, wherein the subjectivity reigns, the phenomenon, the “veil of Maya”, in prejudice of the objectivity, that is, the thing-itself. If the asceticism way is very difficult for the humans' majority, the aesthetic way, the Metaphysics of the Beauty, it’s an affordable way, where the contemplation of Idea rises us up, even momentarily, from the misery that the world is, the “worst of all the possible worlds”. It’s a philosophy of tragedy, a tragedy that is also artistic expression, placed by our philosopher as the most exalted of representative arts, since it exposes the most terrible side of life and suggests the denial of the will, generating and uplifting empathy between the viewer and the tragic hero resigned / Expomos aqui a filosofia de Schopenhauer, dando destaque à sua Metafísica do Belo, em que demonstramos o indispensável papel do puro sujeito do conhecimento e do gênio na mesma. O mundo ora como vontade, vontade tal que é cega e fonte de sofrimento para todos os seres e sobretudo para o homem, que tem a consciência e experimenta como ninguém a insatisfação, o tédio e o medo da morte. O mundo ora como representação, em que a subjetividade impera, o fenômeno, o “véu de Maia”, em detrimento da objetividade, ou seja, da coisa-em-si. Se o caminho do ascetismo é muito difícil para a grande maioria dos homens, o caminho estético, pela metafísica do belo, é um caminho acessível, em que a contemplação da Ideia nos eleva, mesmo que momentaneamente, dessa miséria que é o mundo, o “pior dos mundos possíveis”. Trata-se de uma filosofia da tragédia, tragédia essa que também é expressão artística, colocada por nosso filósofo como a mais excelsa das artes representativas, já que expõe o lado mais terrível da vida e sugere a negação da vontade, gerando uma edificante empatia entre o espectador e o resignado herói trágico

This thesis contends that Sappho's Fr. 16 is intended to oppose the definition of the term Καλόѵ in Tyrtaeus' elegies 10 and 12. An analysis of Tyrtaeus 10 reveals the poet's attempt to institute a new civic courage in Sparta, one shaped by an understanding of honor and shame centered around the young man's willingness to fight and, if necessary, die in battle. Remarkably, the successful practitioner of this courage will literally come to sight differently in the eyes of his fellow citizens. In Tyrtaeus 12, this courage is more clearly defined as τò Καλλɪσɪoѵ, the focus of a new system of virtue that ranks the good of the common above all else, but that provides as much recompense for the warrior and his family as advantage for the city. Sappho's response in her Fr. 16 is to reject any understanding of the Καλόѵ that relies on convention, replacing it with the personal predilections of each individual. As she demonstrates, however, this view contains severe limitations and is inherently destructive of the city. The “debate,” conducted by both poets partly through Homeric allusions, continues the opposition between public and private begun in Homer.

Submitted by Elizabete Silva (elizabete.silva@ufes.br) on 2014-10-08T21:59:31Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertacao.texto.Weksley.pdf: 817638 bytes, checksum: d66693d2b1a7c32ab508d8177a7d421e (MD5) / Approved for entry into archive by Elizabete Silva (elizabete.silva@ufes.br) on 2014-11-18T18:38:03Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertacao.texto.Weksley.pdf: 817638 bytes, checksum: d66693d2b1a7c32ab508d8177a7d421e (MD5) / Made available in DSpace on 2014-11-18T18:38:03Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertacao.texto.Weksley.pdf: 817638 bytes, checksum: d66693d2b1a7c32ab508d8177a7d421e (MD5) Previous issue date: 2013 / Esta dissertação parte das bases da crítica de Gadamer à consciência estética desde o contexto de fundamentação das ciências naturais e decorrente estabelecimento das ciências humanas. Considerando o posicionamento contrário de Gadamer quanto ao predomínio dos métodos das ciências naturais em todos os âmbitos da experiência humana no mundo, nosso esforço será no sentido de abordar a compreensão da experiência estética. Neste sentido, nos voltaremos para a aisthesis com vistas a caminhar focando na problemática em torno da arte a partir de Platão e Aristóteles, culminando no estabelecimento da estética como campo específico do saber filosófico no pensamento iluminista de Baumgarten. Destarte, o presente escrito voltar-se-á para as bases da consciência estética que se encontram na subjetivação decorrente dos efeitos do pensamento crítico de Kant. Com isso, abordaremos as perspectivas de Gadamer com vistas a liberar a experiência da arte do âmbito da consciência estética, o que, segundo este filósofo, pode ocorrer a partir da assunção de um tipo de experiência que pode ser tomado como verdade mesmo não estando restrito aos métodos das ciências naturais. Partindo desta prerrogativa,Gadamer lança mão da noção de jogo como experiência fora da centralidade subjetiva. Com o redirecionamento da experiência, o fenômeno artístico pode aparecer como parte constitutiva da experiência existencial humana sem estar restrito às faculdades subjetivas. / This dissertation starts with the basis of Gadamer's critique of the aesthetic consciousness on the context of the natural sciences grounding and due to the establishment of natural sciences. Considering Gadamer's opposition on the prevalence of natural sciences' methods in all spheres of human experience in the world, our effort will be towards understanding of the aesthetic experience. In this sense, we approach aisthesis focusing the problem around art from Plato and Aristotle’s perspective, reaching the aesthetic establishment as a specific field of the philosophical knowledge in Baumgarten’s illuminist thought. Additionally, this study intends to approach the aesthetic consciousness basis, which lies in the subjection derived from Kant’s critical thought. After that, we will approximate Gadamer’s perspectives in order to liberate the experience of art from the aesthetic consciousness field, which according to this philosopher, might be considered as a truth, even if not being restricted to the natural sciences methods. From this prerogative, Gadamer uses the notion of game as experience, outside the subjective centrality. By redirecting the experience, the artistic phenomenon may be seen as a constitutive part of the human existential experience not being restricted to subjective faculties.

The state of the unfinished is something I am fascinated by, and in the course of this engagement my ambition has been to examine how an understanding of the unfinished can contribute to a re-evaluation in both planning habits and in our interaction with existing buildings. For example, can it help challenge our conception of aesthetics and completeness? At the storage site, I also became curious to investigate how we as a community store, what we store and how we can build connections around storage facilities. To study and also emphasize the historic layering of a site, I implemented the yellow/red method of drawing. Yellow represents the past, black the present and red is the future. Lastly, I have in debt studied the spaces through occasions. The occasions (a definition originally coined by Jan De Vylder) are born out of small observations that can give a decisive turn to the design. It’s a moment in which the thresholds between the existing and the new blurs. In that moment when a confrontation between the new and the old occurs, I believe permanence can emerge. The occasions I have depicted are often small acts of greater significance, perhaps neither more nor less than the mere rearrangement of what already existed. Can amplifying those small observations from a storage site generate a collective interest, consideration and appreciation for our built environment and its maintenance?

No description available.

Master of Architecture / Department of Architecture / Richard L. Hoag / The years of World War II mark a time of significant sociological and cultural change. In the United States, new technologies were introduced, and family structure and family economics changed. These changes were reflected in the popular media, including housing design publications. This thesis examines the design of the American house from 1935 to 1955 as presented in House Beautiful, originally The House Beautiful and first published in 1896, and how it changed during this twenty-year period. Seven themes were used to organize and describe change during this period. These themes are: 1) family structure and economics, 2) technology, 3) construction, 4) automobile, 5) site and spatial relationships, 6) status, and 7) privacy. Changes in presentation of the house in House Beautiful are shown by comparing and contrasting feature house articles across the twenty-year study period. The focus audience of House Beautiful magazine was what the publishers of House Beautiful characterized as the average American, while in fact the designs were not for the masses. Rather, the magazine catered to the ideal image of the average American. Trends discussed in relation to changes in house design include the following: family stability and security, privacy, home-ownership, transportation, suburban development, the process of Americanization, quality of life, and household efficiency.

Abstract: The emergence and development of tourism attractions in inner cities throughout the world has given rise to a number of scholarly debates in the academic study of urban tourism. While academic scholarship in the field of urban tourism began with the cities of the developed states mostly in the 1980s, the emergence and development of tourism initiatives in the inner cities of the developing states in 1990s has drawn a great deal of attention to the South as well. This research explores the emergence and development of an inner city tourism initiative in the form of a craft project known as Beautiful Things. Beautiful Things is a two-year-old craft project located at Newtown’s Cultural Precinct, in the inner city of Johannesburg. The project was inaugurated at the World Summit on Sustainable Development in August 2002, and has since its relocation to the inner city of Johannesburg in December 2002, contributed significantly to the physical, social and economic regeneration of this area. The study of this project is very important in that it is shedding some light on the role of heritage and cultural industries in rejuvenating declining inner cities. It gives light on how Newtown Cultural Precinct as a whole functions within the inner city of Johannesburg. In spite of this project’s role in the development of the Johannesburg inner city, Beautiful Things has not yet been explored for academic research. This research on Beautiful Things is set to be informative on a number of theoretical issues underpinning the development of urban heritage and cultural tourism in general and the development of tourism in Johannesburg. The findings of the study of Beautiful Things reveal important international trends on the development of heritage and cultural attractions in inner cities and elucidate a number of similarities in the development of tourism policies across the cities of the world. This research begins with a chapter on the international experiences of heritage and cultural tourism developments in inner cities and then follows by a study of Johannesburg’s tourism policy and strategy developments. Both chapters are vital in providing the context under which Beautiful Things came to emerge in the inner city of Johannesburg, performing an important role of regenerating the declining inner city. The last part of this research is an empirical confirmation study of physical, social and economic contributions of Beautiful Things in the inner city of Johannesburg. The research is informed by theories of neo-liberalization, local economic development, and inner city regeneration.